Numery pism

Polski

Redakcja:

Leon Zawadowski: I, II, III (1968)

Mieczysława Sekrecka: IV (1969)  XI (1975)

Józef Heistein: XII (1977) – XLIII (1997)

Edmund Sikora: XLIV (1997)  XLIX (2002)

Elżbieta Skibińska: od numeru L (2003)

 

Spisy treści poszczególnych numerów czasopisma (od numeru 51. wraz ze streszczeniami):

 

Romanica Wratislaviensia I

Romanica Wratislaviensia I: 

Romanica Wratislaviensia I

Redaktor tomu – Leon Zawadowski

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1968

(Acta Universitatis Wratislaviensis No 59)

 

Romanica Wratislaviensia II - Mieczysława SEKRECKA, "Louis-Claude de Saint-Martin, le philosophe inconnu..."

Romanica Wratislaviensia II - Mieczysława SEKRECKA, "Louis-Claude de Saint-Martin, le philosophe inconnu...": 

Romanica Wratislaviensia II

Mieczysława Sekrecka, Louis-Claude de Saint-Martin, le philosophe inconnu. L’homme et l’œuvre.

Redaktor tomu – Leon Zawadowski

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1968

(Acta Universitatis Wratislaviensis Nr 65)

Romanica Wratislaviensia III

Romanica Wratislaviensia III: 

Romanica Wratislaviensia III

Redaktor tomu – Leon Zawadowski

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1968

(Acta Universitatis Wratislaviensis No 82)

Romanica Wratislaviensia IV - Anna Nikliborc, "L’œuvre de M

Romanica Wratislaviensia IV - Anna Nikliborc, "L’œuvre de M: 

Romanica Wratislaviensia IV

Anna Nikliborc, L’œuvre de Mmede Genlis.

Redaktor tomu – Mieczysław Klimowicz

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1969

(Acta Universitatis Wratislaviensis No 96)

Romanica Wratislaviensia V

Romanica Wratislaviensia V: 

Romanica Wratislaviensia V

Redaktor tomu – Mieczysława Sekrecka

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1970

(Acta Universitatis Wratislaviensis No 117)

Romanica Wratislaviensia VI

Romanica Wratislaviensia VI: 

Romanica Wratislaviensia VI

Redaktor tomu – Mieczysława Sekrecka

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1971

(Acta Universitatis Wratislaviensis No 140)

Romanica Wratislaviensia VII

Romanica Wratislaviensia VII: 

Romanica Wratislaviensia VII

Redaktor tomu – Mieczysława Sekrecka

Państwowe Wydawnictwo Naukowe

Wrocław 1972

(Acta Universitatis Wratislaviensis No 156)

Romanica Wratislaviensia VIII - Józef Heistein, "La narrativa italiana fra le due guerre"

Romanica Wratislaviensia VIII - Józef Heistein, "La narrativa italiana fra le due guerre": 

Romanica Wratislaviensia VIII

Józef Heistein, La narrativa italiana fra le due guerre.

Redaktor tomu – Mieczysława Sekrecka

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1972

(Acta Universitatis Wratislaviensis No 179)

Romanica Wratislaviensia IX

Romanica Wratislaviensia IX: 

Romanica Wratislaviensia IX

Redaktor tomu – Mieczysława Sekrecka

Państwowe Wydawnictwo Naukowe – oddział wrocławski

Wrocław 1973

(Acta Universitatis Wratislaviensis No 193)

Romanica Wratislaviensia X

Romanica Wratislaviensia X: 
Romanica Wratislaviensia X Rédacteur du numèro – Mieczysława Sekrecka Państwowe Wydawnictwo Naukowe Warszawa - Wrocław 1975 (Acta Universitatis Wratislaviensis No 264)

Romanica Wratislaviensia XI

Romanica Wratislaviensia XI: 

Romanica Wratislaviensia XI

Rédacteurs du numèro – Mieczysława Sekrecka (littérature) et Edmund Sikora (linguistique)

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1975

(Acta Universitatis Wratislaviensis No 265)

Romanica Wratislaviensia XII

Romanica Wratislaviensia XII: 

Romanica Wratislaviensia XII

Rédacteur du volume – Edmund Sikora

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1977

(Acta Universitatis Wratislaviensis No 319)

Romanica Wratislaviensia XIII - Aleksander Labuda, "Lectures des chants de Maldoror"

Romanica Wratislaviensia XIII - Aleksander Labuda, "Lectures des chants de Maldoror": 

Romanica Wratislaviensia XIII

Aleksander Labuda, Lectures des chants de Maldoror

Redaktor tomu - Józef Heistein

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1977

(Acta Universitatis Wratislaviensis No 376)

Romanica Wratislaviensia XIV

Romanica Wratislaviensia XIV: 

Romanica Wratislaviensia XIV

Rédacteurs du volume – Aleksander Wit Labuda (littérature) et Eugeniusz Ucherek (linguistique)

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1979

(Acta Universitatis Wratislaviensis No 416)

Romanica Wratislaviensia XIV: 

Romanica Wratislaviensia XIV

Rédacteurs du volume – Aleksander Wit Labuda (littérature) et Eugeniusz Ucherek (linguistique)

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1979

(Acta Universitatis Wratislaviensis No 416)

Romanica Wratislaviensia XV - "Le drame d’avant-garde et le théâtre"

Romanica Wratislaviensia XV - "Le drame d’avant-garde et le théâtre": 

Romanica Wratislaviensia XV
Le drame d’avant-garde et le théâtre
Actes du colloque franco-polonais organisé par l’Université de Wrocław et l’Université de la Sorbonne Nouvelle (Paris III)
Rédacteur du volume – Józef Heistein
Państwowe Wydawnictwo Naukowe
Warszawa - Wrocław 1979
(Acta Universitatis Wratislaviensis No 462)

Romanica Wratislaviensia XVI - "Études de littérature et de linguistique"

Romanica Wratislaviensia XVI - "Études de littérature et de linguistique": 

Romanica Wratislaviensia XVI

Études de littérature et de linguistique

Rédacteur du volume – Józef Heistein

Państwowe Wydawnictwo Naukowe

Warszawa - Wrocław 1981

(Acta Universitatis Wratislaviensis No 604)

 

Table des matières

  • Avant-propos 3

  • Curriculum vitae et studiorum de Madame Anna Nilkiborc (avec la liste de ses publications) 5

  • Ewa RZADKOWSKA, Relation d’un révolutionnaire sur Ermenonville et sa traduction dans „Pamiętnik Lwowski” 11

  • Marek TOMASZEWSKI, À l’aube de l’inspiration romanesque : Quelques remarques sur les Considérations de Jean-Jacques Rousseau 19

  • Urszula UCHERKOWA, Ce que lisent les jeunes au Quebec 37

  • Małgorzata TOMICKA, Les poèmes français de Wincenty Korab-Brzozowski 45

  • Renata MODRZEWSKA, Les virtualités de réception dans la dramaturgie de Samuel Beckett 59

  • Elżbieta KARPIŃSKA, Typologie des personnages fantastiques dans la littérature pour enfants 83

  • Stanisław FRYCIE, Les œuvres en prose pour enfants de Maria Kownacka après la deuxième guerre mondiale 99

  • Krystyna KULICZKOWSKA, Suit-on les voies du Cœur et de Pinocchio ? Réflexions sur la littérature italienne contemporaine pour enfants 107

  • Piotr SAWICKI, Las ejemplares historias de los „niños cruzados” : Notas sobre el espíritu beligerante de una literatura infantil 119

  • Izabela KANIOWSKA-LEWAŃSKA, Les relations de Clémentine Hoffman (née Tańska) avec la littérature française 131

  • Deolinda SANTOS-ODIVELAS, Une ancienne maison – une école moderne 143

  • Eugeniusz UCHEREK, Les moyens de traduire en français la préposition polonaise pod exprimant le rapport de proximité 147

  • Elżbieta SKIBIŃSKA, La voix passive en français et en polonais – formes et moyens de traduction 171

  • Hanna KARASZEWSKA-WÓJCIK, Le genre grammatical des substantifs congénères en polonais et en français 189

  • Aniela ŁYSIK, Typologie des fautes de français puisées dans les copies d’étudiants polonais 205

  • Edmund SIKORA, Passé composé vs. Passé simple dans le français du siècle classique 215

  • Frammenti di interventi alla tavola rotonda : Storiografia letteraria e l’insegnamento della letteratura 227

Romanica Wratislaviensia XVII - "Études françaises en Europe non francophone"

Romanica Wratislaviensia XVII - "Études françaises en Europe non francophone": 

Romanica Wratislaviensia XVII

Études françaises en Europe non francophone

Actes du séminaire européen de l’AUPELF (Wrocław – Cracovie – Varsovie, 15-23 septembre 1979)

Rédacteur du volume – Józef Heistein

Państwowe Wydawnictwo Naukowe

Warszawa – Wrocław 1981

(Acta Universitatis Wratislaviensis No 613)

Romanica Wratislaviensia XVIII - "Le symbolisme en France et en Pologne"

Romanica Wratislaviensia XVIII - "Le symbolisme en France et en Pologne": 

Romanica Wratislaviensia XVIII

Le symbolisme en France et en Pologne

Rédacteur du volume – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1982

(Acta Universitatis Wratislaviensis No 614)

 

Table des matières

  • Avant-propos 3

  • Michel DÉCAUDIN, «La Retrempe» ou le vers libre 5

  • Maria PODRAZA-KWIATKOWSKA, La notion de symbole 13

  • Józef HEISTEIN, Symbolisme et avant-garde 29

  • Henri BÉHAR, La culture potachique à l’assaut du Symbolisme. Le cas Jarry 43

  • Jan BŁOŃSKI, Le théâtre symboliste et l’histoire 63

  • Pascaline MOURIER-CASILE, Figures et formes de la clôture dans le récit symboliste 75

  • Jean MILLY, Henri de Régnier et Proust 91

  • Daniel LEUWERS, Une filiation : Mallarmé, Jouve, Bonnefoy 99

  • Louis FORESTIER, Rêverie en zinzolin 109

  • Anne UBERSFELD, Maeterlinck et l’objet théâtral 117

  • Hana JECHOVA, Aspects mythiques chez Maeterlinck et Wyspiański 127

  • Aleksander Wit LABUDA, Contextes d’énonciation et de lecture dans la communication poétique (Baudelaire et Mme Sabatier) 137

  • Jerzy KWIATKOWSKI, Le thème du paradis perdu dans la poésie de la Jeune Pologne 155

  • Jacek KOLBUSZEWSKI, Quelques remarques sur la poésie symboliste et la musique 167

  • Małgorzata TOMICKA, La critique du Symbolisme français en Pologne avant la première guerre mondiale 175

Romanica Wratislaviensia XIX

Romanica Wratislaviensia XIX: 

Romanica Wratislaviensia XIX

Rédacteur du volume – Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1983

(Acta Universitatis Wratislaviensis No 620)

 

Table des matières

  • Krzysztof BOGACKI, À propos du prédicat INTEND 3

  • Eugeniusz UCHEREK, Les équivalents français de la préposition polonaise nad (+instrumental) comme exposant de la relation de proximité 13

  • Elżbieta SKIBIŃSKA, Les équivalents polonais de la préposition française à au sens temporel 31

  • Aniela ŁYSIK, Les équivalents français de la préposition polonaise przed au sens temporel 47

  • Stefan KAUFMAN, Le comportement de certains suffixes français dans les mots empruntés par la langue polonaise 59

  • Zofia SMYK, Le subjonctif dans les phrases simples en français et en roumain de nos jours 73

  • Zygmunt WOJSKI, En torno al problema de los «americanismos» 89

Romanica Wratislaviensia XX - " La réception de l'œuvre littéraire"

Romanica Wratislaviensia XX - " La réception de l'œuvre littéraire": 

Romanica Wratislaviensia XX

La réception de l’œuvre littéraire

Recueil d’études du colloque organisé par l’Université de Wrocław dans la rédaction de Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1983

(Acta Universitatis Wratislaviensis No 635)

 

Table des matières

  • Introduction 3

  • Rita SCHOBER, Esthétique de la réception et lecture réaliste 5

  • Daniel Henri PAGEAUX, La réception des œuvres étrangères. Réception littéraire ou représentation culturelle? 17

  • Józef HEISTEIN, La réception et ses documents. Esquisse d’une étude 31

  • Hendrik van GORP, La réception de l’œuvre littéraire : mode ou méthode? 43

  • Stefan ŻÓŁKIEWSKI, Les circuits sociaux de la littérature et le problème du public 51

  • Jaroslav FRYČER, La communication littéraire et le problème de la réception de l’œuvre littéraire 63

  • Włodzimierz BOLECKI, L’espace socio-culturel et la lecture 73

  • Hanna DZIECHCIŃSKA, Le rôle du genre littéraire dans la réception de l’œuvre (XVIe – XVIIe s.) 83

  • Alain MONTADON, Imitation symptomatique et imitation génétique 91

  • Anne UBERSFELD, L’espace théâtral et sa réception 105

  • Daniel LEUWERS, Les lectures de poésie 113

  • Horst HEINTZE, La lecture politique d’un prisonnier solitaire. Antonio Gramsci et les lettres de la prison 123

  • Henri BÉHAR, La réception du surréalisme. Pratique d’une théorie 127

  • Dragan NEDELJKOVIČ, La force et l’impuissance de la littérature dans le monde actuel 139

  • Norbert HONSZA, Littérature de masse et poétique de réception 145

  • Ralph HEYNDELS, Problématicité de la réception du texte discontinu 157

  • Janina KULCZYCKA-SALONI, Le succès de Zola à l’étranger. Quelques remarques sur les étapes de la réception de l’écrivain 171

  • Aleksander ABŁAMOWICZ, La fortune de l’œuvre d’Aragon en Pologne 187

  • Ewa RZADKOWSKA, À propos de la réception de quelques textes français du XVIIIe siècle en Pologne 197

  • Valeria TASCA, La traduction comme cas particulier de la réception littéraire : Non si paga! Non si paga! de Dario Fo 203

  • Marek TOMASZEWSKI, Les fortunes de Lodoïska 213

  • Renata MODRZEWSKA, Le spectateur virtuel des drames de Jean Genet 223

  • Daniel MADELÉNAT, Joseph Delorme de Sainte-Beuve : Emission, réception, rétroaction 229

  • Carmen Licari GRAY, Maupassant nouvelliste : Le lecteur des Contes de la bécasse 243

  • Elżbieta KARPIŃSKA, Le personnage, objet de communication littéraire dans la littérature pour enfants 255

  • Małgorzata TOMICKA, Décadentisme ou symbolisme? Réception critique des deux notions en Pologne (1886-1918) 265

  • Mieczysław CHOMICZ, La réception d’André Gide dans la presse polonaise de l’après guerre (1945-1979) 273

  • Alain BAUDOT, Le texte francophone et sa réception 283

  • Michał GŁOWIŃSKI, Mimésis linguistique dans l’énoncé littéraire 301

Romanica Wratislaviensia XXI - Krystyna Gabryjelska, "Doktryny literackie i estetyczne w hasłach..."

Romanica Wratislaviensia XXI - Krystyna Gabryjelska, "Doktryny literackie i estetyczne w hasłach...": 

Romanica Wratislaviensia XXI

Krystyna Gabryjelska, Doktryny literackie i estetyczne w hasłach „Encyklopedii” Diderota

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1986

(Acta Universitatis Wratislaviensis No 685)

Romanica Wratislaviensia XXII - "Typologie du roman"

Romanica Wratislaviensia XXII - "Typologie du roman": 

Romanica Wratislaviensia XXII

Typologie du roman

Actes du colloque organisé par l’Université de la Sorbonne Nouvelle (Paris III) en collaboration avec l’Université de Wrocław (Paris les 24-26 janvier 1983)

Présentés par Christiane Moatti et Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1984

(Acta Universitatis Wratislaviensis Nr 690)

 

Table des matières

  • Christiane MOATTI, Introduction. Perspectives sur le genre 3

  • Józef HEISTEIN, Préface 11

I. Questions de narratologie

  • Philippe HAMON, Héros, héraut, hiérarchies 13

  • Aleksander Wit LABUDA, Le personnage dans la lecture «réaliste» 27

  • Raymonde DEBRAY-GENETTE, La figuration descriptive (Flaubert, les Goncourt) 49

  • Henri MITTERAND, L’espace du corps dans le roman réaliste 59

  • Michał GŁOWIŃSKI, Quatre types de fiction narrative 73

II. Variations historiques du genre

  • Françoise GAILLARD, Du traité de médecine au roman médical : ou la petite histoire du nervosisme 83

  • Józef HEISTEIN, Le roman anti-naturaliste. Quelques directions de l’art romanesque à la charnière des XIXe et XXe siècles 97

  • Christiane MOATTI, Ouverture et clôture d’un roman engagé 111

  • Daniel-Henri PAGEAUX, Littérature bourgeoise et succès populaire : Le cas Pierre Benoit 127

  • Włodzimierz BOLECKI, Witkacy et les problèmes du roman moderne 149

  • Marek TOMASZEWSKI, Miazga de Jerzy Andrzejewski 167

III. De quelques catégories du roman

  • Jan BŁOŃSKI, La passion de l’autoportrait : Leiris et Gombrowicz 179

  • Jean MILLY, Problèmes de typologie du roman proustien (à propos de la Prisonnière) 189

  • Roger FAYOLLE, Roman et traditions dans les romans africains et maghrébins d’écriture française 199

  • Réné GARGUILO, Roman populaire, roman populiste, roman prolétarien 211

  • Michel DÉCAUDIN, Sur le roman en vers au XXe siècle 225

  • Jean-Yves TADIÉ, Le roman d’aventures 235

  • Alina BRODZKA, Histoire, historiographie et littérature. Les conceptions sur l’histoire dans la littérature polonaise du dernier demi-siècle. Wacław Berent – un précurseur 241

Romanica Wratislaviensia XXIII - "Le français langue étrangère"

Romanica Wratislaviensia XXIII - "Le français langue étrangère": 

Romanica Wratislaviensia XXIII

Le français langue étrangère

Actes du Colloque franco-polonais (Lille, avril 1983)

Rédacteur du numèro – Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1985

(Acta Universitatis Wratislaviensis Nr 818)

 

Table des matières

  • Michel GLATIGNY, Présentation 3

  • Michel GLATIGNY, Coup d’œil sur l’évolution de la didactique d’une langue étrangère (1970-1982) 5

  • Daniele FLAMENT-BOISTRANCOURT, L’interférence : un masque, une ambiguïté? 21

  • Danielle CORBIN, Aspects de la compétence dérivationnelle 37

  • Elisabeth FICHEZ-VALLEZ, Quel sens peut avoir le travail sur les mots avec des adultes francophones 53

  • Edmund SIKORA, La structure fonctionnelle des verbes de mouvement. Essai d’analyse à partir d’un échantillon français 71

  • Hanna KARASZEWSKA, Moyens de traduire en polonais la préposition «dans» dans les constructions au sens directionnel 83

  • Eugeniusz UCHEREK, Les équivalents français de la préposition polonaise «za» dans les syntagmes locatifs 91

  • A. M. DESSAUX-BERTHONNEAU, Espace de temps et durée dans les constructions prépositionnelles : données de la compétence syntaxique, sémantique et lexicale au regard du français langue étrangère 103

  • Elżbieta SKIBIŃSKA, Remarques sur les prépositions françaises exprimant la postériorité 147

  • Zofia SMYK, Enquête sur l’emploi des locutions causales : parce que, car, puisque, comme. Observations préliminaires 157

  • Michał MICHALAK, Fautes phonétiques de français à travers la transcription chez les polonophones 163

Romanica Wratislaviensia XXIV - Eugeniusz Ucherek, "Francuskie odpowiedniki polskich przyimków..."

Romanica Wratislaviensia XXIV - Eugeniusz Ucherek, "Francuskie odpowiedniki polskich przyimków...": 

Romanica Wratislaviensia XXIV

Eugeniusz UCHEREK, Francuskie odpowiedniki polskich przyimków lokatywnych w praktyce przekładowej

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1987

(Acta Universitatis Wratislaviensis No 821)

Romanica Wratislaviensia XXV - "Le théâtre dans l’Europe des Lumières. Programmes. Pratiques. Échanges"

Romanica Wratislaviensia XXV - "Le théâtre dans l’Europe des Lumières. Programmes. Pratiques. Échanges": 

Romanica Wratislaviensia XXV

Le théâtre dans l’Europe des Lumières. Programmes. Pratiques. Échanges

Actes du Colloque organisé par le Centre d’Études Littéraires Comparées de l’Université de Wrocław (Karpacz, 18 – 22 avril 1983)

Textes recueillis et présentés par Mieczysław Klimowicz et Aleksander Wit Labuda

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1985

(Acta Universitatis Wratislaviensis Nr 845)

 

Table des matières

  • Avant-propos 3

I. STYLES ET PROGRAMMES

  • György M. VAJDA, Le Nathan de Lessing et les styles européens du siècle des Lumières 7

  • Sante GRACIOTTI, Le mélodrame métastasien dans la culture littéraire polonaise du XVIIIe siècle 17

  • Mieczysław KLIMOWICZ, La naissance de la scène nationale polonaise et les polémiques autour de Shakespeare (1765-1795) 29

  • Zofia WOŁOSZYŃSKA, Shakespeare en Pologne vers la fin du XVIIIe et au début du XIXe siècle 43

  • Martine de ROUGEMONT, Quelques utopies théâtrales du XVIIIe siècle français 59

II. PRATIQUE DU THÉÂTRE

  • Wanda ROSZKOWSKA, Les comédiens italiens en Pologne et la Commedia moderna dans la première moitié du XVIIIe siècle 71

  • Irena KADULSKA, La tradition de la commedia dell’arte dans le théâtre jésuite du XVIIIe siècle 81

  • Wiktoria KOZŁOWSKA, Le théâtre piariste de Stanisław Konarski 97

III. AUTEURS ET TEXTES

  • Aleksandra HOFFMANN-LIPOŃSKA, Les éléments bourgeois dans la comédie de Ph. Néricault Destouches 113

  • Franca ANGELLINI, Le personnage féminin dans le théâtre de Goldoni 125

  • Jacques VOISINE, Le Devin du village de Jean-Jacques Rousseau et son adaptation anglaise par le musicologue Charles Burney 133

  • Janina PAWŁOWICZ, Les origines européennes du théâtre comique de F. Zabłocki 147

  • Zdzisław LIBERA, Pages d’histoire du drame sentimental en Pologne du XVIIIe siècle. Du Czynsz de Franciszek Karpiński 155

  • Marie-France SILVER, Le théâtre du marquis de Sade 163

  • Elżbieta ZAWISZA, L’extension du théâtre dans la France du XVIIIe siècle (quelques propositions de recherche) 179

IV. DISCOURS CRITIQUES

  • Zofia SINKO, La discussion sur le théâtre dans le «Monitor» polonais et le «Spectator» anglais 191

  • Martin FONTIUS, Lessing – évolution du critique théâtral 209

  • Krystyna GABRYJELSKA, Le genre comique dans l’Encyclopédie de Diderot 221

  • Maria RUTKOWSKA, Les acteurs. Terminologie théâtrale au siècle des Lumières en Pologne 235

V. THÉÂTRE ET HISTOIRE

  • Hana JECHOVA, Les motifs historiques dans le théâtre tchèque et dans le théâtre polonais au tournant des Lumières 247

  • Luigi de NARDIS, La névrose révolutionnaire au théâtre 263

  • Alina KOWALCZYKOWA, L’épilogue des Lumières comme prologue du drame romantique 269

Romanica Wratislaviensia XXVI - "Le texte dramatique. La lecture et la scène"

Romanica Wratislaviensia XXVI - "Le texte dramatique. La lecture et la scène": 

Romanica Wratislaviensia XXVI

Le texte dramatique. La lecture et la scène

Actes du colloque organisé par l’Université de Wrocław et l’Université de la Sorbonne Nouvelle (Paris III) en collaboration avec d’autres universités polonaises et étrangèes (Karpacz les 29 avril – 3 mai 1984)

Présenté par Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1986

(Acta Universitatis Wratislaviensis Nr 895)

 

Table des matières

  • Józef HEISTEIN, Préface 3

Les textes dramatiques et les modes de lecture

  • Robert HORVILLE, Théâtre à lire et théâtre à voir 11

  • Józef KELERA, La lecture du drame 21

  • Antonio STÄUBLE, La dialectique texte-spectacle dans le théâtre italien du XXe siècle 29

  • Dobrochna RATAJCZAK, Lire – voir – savoir 41

  • Zbigniew OSIŃSKI, L’analyse du texte dramatique dans le théâtre «Reduta» de Juliusz Osterwa et de Mieczysław Limanowski 51

  • Jan BŁOŃSKI, Le censeur-lecteur 67

Le texte et ses valeurs théâtrales

  • Anne UBERSFELD, Pour la théorie des actes de langage au théâtre 75

  • Patrice PAVIS, De l’importance du rythme dans le travail de la mise en scène 87

  • Sławomir ŚWIONTEK, La situation théâtrale inscrite dans le texte dramatique 97

  • Kazimierz BRAUN, Le metteur en scène – lecteur du drame 109

  • Adelin FIORATO, Les Six personnages de Pirandello et le «mal» du théâtre 125

  • Halina SAWECKA, Proposition d’une relecture de Henri IV de Pirandello sous l’angle des rapports entre le théâtre et la folie 135

La lecture et la relecture des textes

  • Mieczysław INGLOT, Les drames de Juliusz Słowacki dans l’enseignement scolaire après la deuxième guerre mondiale 145

  • Małgorzata SUGIERA, La Non-divine comédie de Krasiński dans la lecture littéraire et théâtrale 159

  • Józef HEISTEIN, Écrivains et dramaturges – lecteurs des Noces de Wyspiański 171

  • Liana NISSIM, Une lecture moderne du théâtre symboliste : Axël de Villiers de l’Isle-Adam 185

  • Thérèse GOYET, «Au moment que je parle...» Requête pour une lecture du théâtre au temps présent 203

  • Bruno De MARCHI, de Umberto D. 1952, lectures comparées : sujet, scénario, texte filmique 215

Romanica Wratislaviensia XXVII

Romanica Wratislaviensia XXVII: 

Romanica Wratislaviensia XXVII

Rédacteurs du volume – Aleksander Labuda et Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1987

(Acta Universitatis Wratislaviensis Nr 950)

 

Table des matières

  • Od Redaktorów 3

I. PROBLÈMES DE MÉTHODE ET DE MÉTIER

  • Józef HEISTEIN, Les directions de recherches à l’Institut de Philologie Romane 5

  • Jan TRZYNADLOWSKI, Współpraca Instytutu Filologii Romańskiej z półrocznikiem „Zagadnienia Rodzajów Literackich” („Les Problèmes des Genres Littéraires”) 11

  • Jerzy FALICKI, O potrzebie badań nad dziejami polskiej romanistyki 17

  • Mieczysław KLIMOWICZ, Problemy komparatystyki literackiej w Polsce 21

II. DANS L’OPTIQUE COMPARATISTE

  • Stefan KAUFMAN, Certains aspects du phénomène de relatinisation des mots d’emprunts français dans le lexique de la langue polonaise 25

  • Regina MAZURÓW, Les équivalents français de la préposition polonaise w + locatif dans les syntagmes marquant le mode d’habillement 45

  • Elżbieta SKIBIŃSKA, L’opposition pendant/durant dans la traduction polonaise 61

  • Eugeniusz UCHEREK, Francuskie korelaty tłumaczeniowe temporalnego za + biernik jako wykładnika lokalizacji nynocentrycznej i allocentrycznej 81

  • Aleksander Wit LABUDA, Gra rzeczy i słów – o studenckich tłumaczeniach Borisa Viana 97

  • Małgorzata TOMICKA, Między oryginałem a przekładem. Kilka uwag o recepcji Baudelaire’a (Le Gouffre w tłumaczeniu Antoniego Langego) 107

III. PROBLÈMES DE LANGUE

  • Hanna KARASZEWSKA, Enseigner l’écrit – pour quoi faire? Quelques remarques sur les travaux pratiques de „composition” 117

  • Michał MICHALAK, Les propositions infinitives dans la langue française. Essai de classification des propositions infinitives complétives à des fins pédagogiques 123

  • Edmund SIKORA, Le contenu, la structuration - approche stratificationnelle 133

  • Zygmunt WOJSKI, El gallego - ¿ un dialecto del portugués ? 153

IV. PROBLÈMES DE LITTÉRATURE

  • Mieczysław CHOMICZ, Relacje osobowe w powieści Un de Baumugnes Jana Giono. Dialog a monolog 159

  • Krystyna FALICKA, Espace et idéologie 171

  • Krystyna GABRYJELSKA, Voltaire – la vision du passé littéraire 177

  • Jacek KOLBUSZEWSKI, Paryż w literaturze polskiej (1830-1918) 187

  • Maurizio MAZZINI, Il teatro dei futuristi italiani. Teoria scenica e condizionamenti storici 207

  • Anna NIKLIBORC, Olesia ou la Pologne. Épisode inconnu de l’amitié franco-polonaise 215

  • Piotr SAWICKI, El concepto de Unidad en la propaganda franquista. Notas para la historia de una obsesión (1937-1962) 223

  • Hanna WAŁKÓWSKA, Zapoznana francuska relacja o Indiach 233

Romanica Wratislaviensia XXVIII - Józef Heistein, "Décadentisme, symbolisme, avant-garde..."

Romanica Wratislaviensia XXVIII - Józef Heistein, "Décadentisme, symbolisme, avant-garde...": 

Romanica Wratislaviensia XXVIII

Józef Heistein, Décadentisme, symbolisme, avant-garde dans les littératures européennes. Recueil d’études

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1987

(Acta Universitatis Wratislaviensis No 1019)

Romanica Wratislaviensia XXIX - Edmund Sikora, "Praeteritum composé en français préclassique et classique"

Romanica Wratislaviensia XXIX - Edmund Sikora, "Praeteritum composé en français préclassique et classique": 

Romanica Wratislaviensia XXIX

Edmund Sikora, Praeteritum composé en français préclassique et classique

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1989

(Acta Universitatis Wratislaviensis No 1030)

Romanica Wratislaviensia XXX - "Études de linguistique romane"

Romanica Wratislaviensia XXX - "Études de linguistique romane": 

Romanica Wratislaviensia XXX

Études de linguistique romane

Actes du VIe Congrès des Linguistes Romanisants Polonais (Karpacz, mai 1987)

Rédacteur du tome – Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1989

(Acta Universitatis Wratislaviensis Nr 1064)

 

Table des matières

  • Eugeniusz UCHEREK, Avant-propos 3

  • Michel BELLOT-ANTONY, Phrases et modes d’énonciation dans le Quart Livre de Rabelais 5

  • Anna BOCHNAKOWA, Entre l’emprunt et le néologisme inspiré d’un mot étranger en français et en polonais 19

  • Krzysztof BOGACKI, L’ambiguïté et le temps 25

  • Grażyna BOGUSŁAWSKA, Presque – analyse sémantique à la Ducrot 33

  • Dariusz BRALEWSKI, Locutions phraséologiques à sens ‘battre qqn’ en français et en polonais 41

  • Danielle CORBIN, La place de l’histoire dans une morphologie synchronique 51

  • Barbara CYNARSKA, Le lexique du frioulan 69

  • Urszula DĄMBSKA-PROKOP, Observations sur la cohérence textuelle 75

  • André DUYÉ, Si m’aït Diex / Se Diex m’aït. Une formule de serment de l’ancien français – ou « la preuve par Dieu » 85

  • Teresa GIERMAK-ZIELIŃSKA, Rôle du présupposé dans l’interprétation de l’antonymie verbale 95

  • Michel GLATIGNY, La naissance de la norme française : la syntaxe des relatifs au XVIe siècle comparée à celle de nos jours 101

  • Ives GOURGAUD, L’emploi des temps du passé en occitan 117

  • Halina GRZMIL-TYLUTKI, La tautologie et la contradiction – et la structure sémantique 123

  • Elżbieta JAMROZIK, Description et appréciation dans les adjectifs qualificatifs 129

  • Stefan KAUFMAN, Observations concernant l’influence de la graphie sur les mots d’emprunt français en polonais 135

  • Jolanta LEŚNIAK, Les voies des emprunts italiens dans le vieux polonais 141

  • Ewa MICZKA, L’analyse de l’enchaînement rhématique dans l’étude de la cohérence textuelle 145

  • Małgorzata NOWAKOWSKA, Nominalisations objective et propositionnelle formellement identiques 153

  • Wiaczesław NOWIKOW, Sobre la «desaparición» del pluscuamperfecto de subjuntivo de los esquemas condicionales 161

  • Geneviève PÉTIOT, Statut sémiotique de la star dans quelques textes publicitaires 169

  • Michel QUEREUIL, La traduction du vocabulaire dans La Bible française du 13ème siècle 177

  • Edmund SIKORA, La sémantique des verbes de mouvement à orientation déictique en français moderne. Essai d’analyse et de formalisation : approche stratificationnelle 185

  • Elżbieta SKIBIŃSKA, Syntagme «à + Nom d’Action» - complément de temps ? Observations 199

  • Józef SYPNICKI, Les structures avec le pronom réfléchi en français et en polonais 205

  • Marcela ŚWIĄTKOWSKA, L’imparfait modal ou le voyage dans l’imaginaire 211

  • Teresa TOMASZKIEWICZ, Le présent – essai d’interprétation dans le cadre d’étude comparative 217

  • Eugeniusz UCHEREK, La traduction en français de la préposition polonaise w + accusatif au sens temporel 225

  • Grażyna Małgorzata VETULANI, Quelques fonctions quantifiantes des adjectifs en français 233

  • Stanisław WIDŁAK, Omonimizzazione dei prefissi polisemici italiani 239

  • Zygmunt WOJSKI, El castellano en la Argentina 247

Romanica Wratislaviensia XXXI - "Problèmes de terminologie littéraire"

Romanica Wratislaviensia XXXI - "Problèmes de terminologie littéraire": 

Romanica Wratislaviensia XXXI

Problèmes de terminologie littéraire

Rédacteur du volume – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1988

(Acta Universitatis Wratislaviensis Nr 1080)

 

Table des matières

  • Józef HEISTEIN, Avant-propos 3

  • René MARTIN, Terminologie et problématique des genres littéraires 5

  • Tomasz STRÓŻYŃSKI, La reconnaissance : définition, typologie, problèmes d’analyse 19

  • Mieczysław CHOMICZ, Dialogue – contextes et significations du terme 29

  • Colette ROUBAUD, Jean Cocteau et les genres littéraires 39

  • Renata MODRZEWSKA, Théâtralisation, autothématisme, théâtre dans le théâtre 53

  • Jean-Pierre GOLDENSTEIN, Sur quelques présupposés du discours critique 59

  • Krystyna GABRYJELSKA, Les limites de la littérature dans les articles de l’Encyclopédie de Diderot 67

  • Józef HEISTEIN, L’épithète „politique” en rapport avec la littérature 75

  • Daniel MADELÉNAT, Le concept d’intimisme en histoire littéraire 91

  • Pierre MALANDAIN, Les termes de l’intertextologie 103

  • Christiane MOATTI, Intertextualité : Le cas Malraux 115

  • Armando GNISCI, Mondanité de la littérature et dévoilement de la critique 131

  • Krzysztof JAROSZ, Autour de l’autotélisme 139

  • Halina SAWECKA, Invariants en tant qu’objets de recherches comparatistes 149

  • Sławomir CIEŚLIKOWSKI et Teresa CIEŚLIKOWSKA, Le langage indirect: compréhension et incompréhension 157

  • Małgorzata TOMICKA, La Préface de Mademoiselle de Maupin : de la critique au programme littéraire 165

  • Maurizio MAZZINI, Les études de sémiotique théâtrale en Italie dans la dernière décennie : quelques apports terminologiques 175

Romanica Wratislaviensia XXXII - "Hiszpania II Republiki. Polityka i literatura"

Romanica Wratislaviensia XXXII - "Hiszpania II Republiki. Polityka i literatura": 

Romanica Wratislaviensia XXXII

Hiszpania II Republiki. Polityka i literatura. – La España de la II República. Política y literatura.

Pod redakcją Piotra Sawickiego

Materiały z sympozjum zorganizowanego przez Instytut Filologii Romańskiej Uniwersytetu Wrocławskiego i Oddział Zachodni Polskiego Stowarzyszenia Hispanistów (Wrocław, 17-18 października 1986)

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1989

(Acta Universitatis Wratislaviensis No 1125)

 

Spis treści

  • Jan KIENIEWICZ, Ku nieuchronnemu starciu? Idea konfliktu Hiszpanii w rzeczywistości II Republiki 5

  • Anna SAWICKA, Intelektualiści i politycy w Kortezach II Republiki. Manuel Azaña i José María Gil Robles 13

  • Pilar GIL CÁNOVAS, Intelektualiści hiszpańscy a religia w przededniu tragedii 23

  • Eugeniusz GÓRSKI, Myśl marksistowska w Hiszpanii w okresie II Republiki 33

  • Stanisław CICHOWICZ, Wracając do Ortegi 41

  • Piotr SAWICKI, Między Republiką a frankizmem. Polityczne i moralne dylematy liberalnych pisarzy hiszpańskich w latach trzydziestych 55

  • Barbara LAJBLICH, Echa myśli Unamunowskiej w wizji Hiszpanii Antonia Machado 67

  • Zofia SZLEYEN, Federico García Lorca na tle swoich czasów 77

  • Beata RÓZGA, Słowa-klucze w strukturze symbolicznej Romancero gitano Federico Garcii Lorki 85

  • Krystyna PYCIŃSKA-TAYLOR, Okres surrealistyczny w twórczości Vicente Aleixandre w świetle współczesnej krytyki 99

  • Piotr FORNELSKI, Poezja i perswazja. Manipulacja językowa na przykładzie kilku wybranych wierszy Miguela Hernándeza 107

  • Ewa NAWROCKA, Słowa-klucze w poezji Miguela Hernándeza 119

  • Urszula ASZYK, Teatr hiszpański przed wojną domową: między kryzysem i awangardą 125

  • Jadwiga KONIECZNA-TWARDZIKOWA, „Nagie ciało Mariany Pinedy”. Na temat przekładu dokumentu literackiego hiszpańskiej II Republiki 135

Romanica Wratislaviensia XXXIII - Elżbieta Skibińska, "Les équivalents des prépositions..."

Romanica Wratislaviensia XXXIII - Elżbieta Skibińska, "Les équivalents des prépositions...": 

Romanica Wratislaviensia XXXIII

Elżbieta Skibińska, Les équivalents des prépositions temporelles françaises dans la traduction polonaise

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1991

(Acta Universitatis Wratislaviensis No 1174)

Romanica Wratislaviensia XXIV - Eugeniusz Ucherek, "Francuskie odpowiedniki polskich przyimków..."

Romanica Wratislaviensia XXXIV - "Études littéraires et linguistiques": 

Romanica Wratislaviensia XXXIV

Études littéraires et linguistiques

Rédacteur du tome – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1991

(Acta Universitatis Wratislaviensis Nr 1246)

 

Table des matières

  • Avant-propos 3

  • Mieczysław KLIMOWICZ, L’Opéra comique polonais au XVIIIe siècle et ses liaisons avec le folklore et la politique 5

  • Teresa KOSTKIEWICZOWA, Formes et fonctions de la critique littéraire dans la Pologne des Lumières 17

  • Przemysława MATUSZEWSKA, L’image du destinataire dans la poésie polonaise des Lumières 25

  • Zofia SINKO, Historical Motifs and Their Function in the Polish Prose of the Age of Enlightenment 31

  • Małgorzata TOMICKA, Entre la peinture et la littérature. Quelques réflexions sur le contexte littéraire de l’œuvre de Théophile-Alexandre Steinlen, peintre suisse (1859-1923) 39

  • Justyna ŁUKASZEWICZ, Le motif du lac dans La Nouvelle Heloïse 47

  • Maurizio MAZZINI, Figure materne nella drammaturgia europea del primo novecento : Strindberg, Pirandello, Witkacy 55

  • Magdalena ŚLEDŹ, Don Juan de agua y fuego. Intento de interpretar las alusiones a la Eneida de Virgilio en El Burlador de Sevilla de Tirso de Molina 63

  • Renata MODRZEWSKA, Impromptu – genre autothématique du drame 73

  • Wiaczesław NOWIKOW, La forma sintáctica y sus elementos constitutivos (contribución metodológica a la sintaxis de la oración y de las categorías verbales) 81

Romanica Wratislaviensia XXXV - "La Révolution française et ses fantasmes dans la littérature"

Romanica Wratislaviensia XXXV - "La Révolution française et ses fantasmes dans la littérature": 

Romanica Wratislaviensia XXXV

La Révolution française et ses fantasmes dans la littérature

Rédacteur du volume – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1992

(Acta Universitatis Wratislaviensis Nr 1246)

 

Table des matières

  • Józef HEISTEIN, Avant-propos 3

  • Gilbert VAN DE LOUW, La Révolution française et des fantasmes dans la littérature : le répertoire du théâtre d’Amsterdam 5

  • Izabella ZATORSKA, De l’utopie à la prophétie : la mutation de l’utopie dans le théâtre de la Révolution 15

  • Pierre MALANDAIN, Le fantasme au cœur du réel : Platon dans la Révolution française 23

  • Krystyna GABRYJELSKA, Un encyclopédiste dans le tourbillon de la terreur. Les mémoires d’André Morellet et de J.-F. Marmontel 33

  • Béatrice DIDIER, La Révolution dans le roman noir 41

  • Claude REICHLER, Chateaubriand : le deuil et l’expiation 49

  • Jerzy PARVI, Nodier, Ballanche et leur hantise de l’échafaud 55

  • Michèle Madonna DESBAZEILLE, Le Nouveau Monde de Charles Fourier ou la Révolution Absolue des Droits de l’Homme 63

  • Maria JANION, Remigiusz FORYCKI, Le fantasme de la tête coupée 75

  • Ewa MUKOID, „Serait-ce un Danton?” 89

  • Jaroslav FRYČER, La prose frénétique et la Révolution française 97

  • Stanisław MAKOWSKI, La Marseillaise pour les Polonais 103

  • Michel VANOOSTHUYSE, Du fantasme révolutionnaire à la „Realpolitik” : trois fictions allemandes des années 1850 109

  • Louis ALLAIN, Le double regard de Dostoïevski sur la Révolution française 119

  • Max MILNER, L’image mythique de la Révolution dans l’œuvre de Barbey d’Aurevilly 131

  • Pierre GLAUDES, La Sainte Famille et la Révolution 141

  • Jean-Marie DELMAIRE, La Révolution et la France républicaine vues par les Juifs 157

  • Aleksander ABŁAMOWICZ, Quand les Dieux ont soif 167

  • Józef HEISTEIN, L’image du pouvoir et de la terreur dans le „Théâtre de la Révolution” de S. Przybyszewska 177

  • Mireille REVOL CAPPELLETTI, Révolution, Spiritualité, Poésie : Pierre Jean Jouve 187

  • Daniel LEUWERS, La Révolution comme sacrifice 199

  • Marian ŚCIEPURO, La vision de la Grande Révolution française dans l’œuvre de Paul Antokolski 205

  • Renata MODRZEWSKA, La Révolution et le théâtre dans le théâtre 217

  • Michał MROZOWICKI, L’image de la Révolution française dans Les Fleurs bleues de Raymond Queneau 223

  • Max MILNER, Conclusion du colloque 235

Romanica Wratislaviensia XXXVI - "Formes littéraires brèves"

Romanica Wratislaviensia XXXVI - "Formes littéraires brèves": 

Romanica Wratislaviensia XXXVI

Formes littéraires brèves

Actes du colloque organisé par l’Université Blaise Pascal en coopération avec l’Université Clermont-Ferrand, 29 novembre au 2 décembre 1989

Éditeurs du volume – Józef Heistein et Alain Montandon

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1991

(Acta Universitatis Wratislaviensis Nr 1300)

 

Table des matières

  • Józef HEISTEIN, Avant-propos 3

  • Alain MONTANDON, Préface... brève 5

  • Jacques-Philippe SAINT-GERAND, Subsistances et transformations : la théorisation des formes brèves dans les manuels de rhétorique du XIXe siècle 9

  • Józef HEISTEIN, À propos des théories polonaises sur les formes littéraires brèves 21

  • Daniel MADELÉNAT, Formes brèves de la biographie : essai de généalogie et de classement 29

  • Ann MOSS, Du lieu commun à la maxime : de la renaissance au monde classique 43

  • Christian MONCELET, À travers un étrange proverbier 53

  • Yves REUTER, Rêves et littérature. À propos de George Perec, La boutique obscure 67

  • Alain PETIT, La brièveté héraclitéenne 77

  • Yves SINTUREL, Char le bref. Quelques remarques sur la brièveté dans la poésie de R. Char 89

  • Renata MODRZEWSKA, Dramaticules de Samuel Beckett 109

  • Camillo FAVERZANI, Deux nouvelles-manifestes de Marguerite Yourcenar 115

  • Julián Mateo BALLORCA, Le narrateur s’esquive : les récits de Noël Devaulx 123

  • Gérard LOUBINOUX, Le texte de l’air d’opéra ou l’esthétique du prolongement 133

  • Evelyne MARTIN-HERNANDEZ, Parabole et blasphème chez Blas de Otero : Parábolas y dezires 155

  • Jean PABION, Les synthèses du théâtre futuriste italien 167

  • Robert SMADJA, Jean Follain et le haïku 181

  • Alain MONTANDON, La brièveté du diariste : Joubert et Handke 189

  • Hélène ROL-TANGUY, Les Instantanés du romancier soviétique Youri Bondarev 199

  • Sophie OLLIVIER, L’art du fragment dans les récits de K. Paoustovski 207

  • Gérard THIÉRIOT, Contre le « neuro-réalisme » : quelques réflexions sur le minidrame de langue allemande (Botho Strauss et Hans Carl Artmann) 217

  • Jacques LAJARRIGE, Les formes lyriques brèves de tradition japonaise chez les poètes d’expression allemande : H. C. Artmann, E. Jandl, O. Pastior et F. C. Delius 227

  • Roger BAUER, Le poème en prose autrichien : de Baudelaire à Peter Altenberg 239

  • Paul LEVAYER, Le diable amoureux ou l’illusion maîtresse 255

  • Nicole GUEUNIER, Une forme brève : la parémie d’origine évangélique et son usage dans les titres littéraires en français 261

Romanica Wratislaviensia XXVII

Romanica Wratislaviensia XXXVII - "Metodología de la enseñanza de la lengua española. Teoría y práctica": 

Romanica Wratislaviensia XXXVII

Metodología de la enseñanza de la lengua española. Teoría y práctica.

Actas del Seminario organizado por la Universidad de Wrocław y la Asociación Polaca de Hispanistas (Wrocław – Karpacz, 22-26 de septiembre de 1987)

Rédacteurs du volume – Wiaczesław Nowikow, Abel A. Murcia Soriano

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1992

(Acta Universitatis Wratislaviensis Nr 1301)

 

Índice

  • Advertencia preliminar 3

  • Jerzy ŻEBROWSKI, Análisis del vocabulario utilizado en algunos manuales polacos de español para principiantes 5

  • Jerzy ZYBERT, Algunas observaciones sobre la enseñanza del vocabulario español 11

  • Pilar Gil CÁNOVAS, La traducción en la enseñanza : sentir la belleza de las palabras 17

  • Abel A. MURCIA SORIANO, Każdy / cada, todo, cualquiera 23

  • Wiaczesław NOWIKOW, Sobre el acento fonético y ortográfico en la enseñanza del español 25

  • Sławomir BAZYLKO, El artículo y sus semejantes (determinación específica del sustantivo) en el español de hoy 29

  • Zygmunt WOJSKI, La enseñanza de los tiempos del pasado a los alumnos polacos 35

  • Agustina LÓPEZ TORIBIO, Nuevos métodos para la enseñanza del español como lengua extranjera 39

  • Maria Małgorzata KOSZLA, Método comunicativo de enseñanza del español con enfoque real y cognoscitivo 45

  • Fernando HERVÁS, Eliseo PICÓ, Mercè VILARRUBIAS, Una experiencia de autonomía en E/LE 51

  • Jerzy SZAŁEK, La geografía de España como parte de la enseñanza del español en los estudios hispánicos de la Universidad A. Mickiewicz de Poznań 59

  • Piotr SAWICKI, La realidad española contemporánea y la enseñanza del idioma (proyecto de una antología) 63

  • Waldo Cerezo RUBIO, El vídeo : un medio al servicio de la enseñanza de lenguas 69

  • Anna WAWRYKOWICZ, Utilización de medios auditivos en la enseñanza del español 77

  • Alicja BĄCZYK-TOMASZEWSKA, Tipos de ejercicios más útiles en la enseñanza del español 81

  • Piotr FORNELSKI, Construir el lenguaje. Una concepción del manual 87

Romanica Wratislaviensia XXXVIII - "Littérature et Institutions"

Romanica Wratislaviensia XXXVIII - "Littérature et Institutions": 

Romanica Wratislaviensia XXXVIII

Littérature et Institutions

Rédacteur du volume – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław – Paris 1991

(Acta Universitatis Wratislaviensis Nr 1321)

 

Table des matières

  • Avant-propos 3

  • Alain VIALA, Institutions et usages littéraires 5

  • Claude AZIZA, Les Chrétiens aux lions : un fantasme d’histoire dans le roman sulpicien 13

  • Aleksander Wit LABUDA, La littérature en situation scolaire - l’archétype gréco-romain 19

  • Yves REUTER, Pour une approche des biens littéraires 31

  • Monique SANTUCCI, Joutes et Pas : jeux ou politique? 41

  • Hanna DZIECHCIŃSKA, Les écoles des jésuites et la culture des spectacles dans l’Ancienne Pologne 51

  • Teresa KOSTKIEWICZOWA, Remarques sur les rapports entre la littérature et les institutions dans la période des Lumières polonaises 61

  • Marcin CIEŃSKI, Les institutions dans la culture littéraire du XVIIIe siècle. Deux exemples : la Pologne et l’Allemagne 73

  • Roger FAYOLLE, Réflexions sur la définition de la littérature française dans les programmes des lycées français à la fin du XIXe siècle 85

  • Małgorzata TOMICKA, La littérature française vue par les professeurs de français en Pologne (Galicie 1897-1914) 93

  • Pascaline MOURIER-CASILE, L’art et ses institutions dans le discours critique d’André Breton 105

  • Józef HEISTEIN, La politique culturelle et la réception de la littérature française en Pologne dans les années 1950-1960 119

  • René GODENNE, Sur un non-statut : la nouvelle française de 1940 à 1986 131

  • René GARGUILO, Un personnage de roman : Monsieur le Maire 139

Romanica Wratislaviensia XXXIX

Romanica Wratislaviensia XXXIX: 

Romanica Wratislaviensia XXXIX

Rédacteurs du volume – Aleksander Labuda et Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1992

(Acta Universitatis Wratislaviensis Nr 1391)

 

Table des matières

  • Elżbieta BIARDZKA, Les syntagmes français régis par les prépositions sans et avec dans la traduction polonaise 3

  • Anna SAKOWSKA, Les équivalents français de la préposition polonaise z(e) + génitif au sens causal 19

  • Elżbieta SKIBIŃSKA, Stefan KAUFMAN, Adaptation syntaxique des verbes français en polonais 33

  • Elżbieta MIELCZAREK, Le radio, document authentique sonore dans l’enseignement du FLE 67

  • Mieczysław CHOMICZ, Sartre – monologuiste ou dialoguiste? Ou sur l’inefficacité d’une dychotomie appliquée à la littérature 75

Romanica Wratislaviensia XL - Edmund Sikora, "Organisation et structure de la strate sémique..."

Romanica Wratislaviensia XL - Edmund Sikora, "Organisation et structure de la strate sémique...": 

Romanica Wratislaviensia XL

Edmund Sikora, Organisation et structure de la strate sémique des verbes de mouvement français. Contribution à une linguistique stratificationnelle.

Rédacteur du volume – Józef Heistein

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1992

(Acta Universitatis Wratislaviensis No 1422)

Romanica Wratislaviensia XLI - "Mélanges de langue et de littérature offerts au Professeur Józef Heistein"

Romanica Wratislaviensia XLI - "Mélanges de langue et de littérature offerts au Professeur Józef Heistein": 

Romanica Wratislaviensia XLI

Mélanges de langue et de littérature offerts au Professeur Józef Heistein

Rédacteur du volume – Aleksander Wit Labuda

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1996

(Acta Universitatis Wratislaviensis Nr 1738)

 

Table des matières

  • Aleksander Wit LABUDA, Józef Heistein. Notice biographique 7

Józef Heistein. Bibliographie des travaux 9

  • Beata BACZYŃSKA, Corresponsales polacos de Don Marcelino Menéndez Pelayo : Wincenty Lutosławski, Sofía Casanova de Lutosławski y Edward Porębowicz 17

  • Elżbieta BIARDZKA, Les syntagmes français régis par hors (de) exprimant l’exception dans la traduction en polonais 25

  • Andrzej CIEŃSKI, Wiersze egzystencjalne Konstantego Ildefonsa Gałczyńskiego 37

  • Marcin CIEŃSKI, Opowiadanie i dialog w Kubusiu Fataliście Denisa Diderota, czyli uwagi o odmianach powieściowej mowy 47

  • Jean EHRARD, Soldat et citoyen : dès Lumières à la Révolution 61

  • Rémi FORYCKI, Stendhal – étude pour un autoportrait 73

  • Edmond GOGOLEWSKI, L’évolution de la communauté catholique polonaise dans les grands centres miniers et industriels en France : l’exemple de la paroisse du Sacré-Cœur de Harnes, dans le département du Pas-de-Calais 83

  • Sante GRACIOTTI, L’eredità rinascimentale nel barocco ucraino 99

  • Horst HEINTZE, Bedichtete Musik : zum Verhältnis von Marino und Monteverdi 113

  • Norbert HONSZA, Anioł milczał. Kilka uwag o odkurzonej prozie Heinricha Bölla 121

  • Mieczysław INGLOT, Norwidowska idea okrągłego stołu 129

  • Mieczysław KLIMOWICZ, Dylematy komparatysty – historyka literatury polskiej XVIII wieku 137

  • Ewa KULAK, Kronika paryzka de Zofia Węgierska, un regard sur la culture française du Second Empire 145

  • Eva KUSHNER, The classical sub-text in the work of Christine de Pisan 159

  • Michel LIOURE, Claudel et la Pologne 167

  • Justyna ŁUKASZEWICZ, Carlo Goldoni librettista nella Polonia del Settecento 179

  • Daniel MADELÉNAT, Biographies postmodernes 191

  • Bruno DE MARCHI, Un tumore nella memoria 203

  • Michał MICHALAK, Les fautes d’accents sur la lettre e chez les Polonais étudiant le français 233

  • Krystyna MODRZEJEWSKA, Le personnage dans le théâtre de Jean Giraudoux 243

  • Alain MONTANDON, Pour une socio-poétique de la flânerie 251

  • Liana NISSIM, L’avventurosa impresa. Riflessioni su una poesia di Mario Luzi 265

  • Małgorzata NOWAKOWSKA, Les noms de sentiments en français et en italien 277

  • Wiaczesław NOWIKOW, Pragmática del tratamiento pronominal metafórico 289

  • Maja PAWŁOWSKA, Les maximes dans La Princesse de Clèves 297

  • Larysa PISAREK, Miejsce podziękowania w strukturze dialogu rosyjskiego 309

  • Alicja RYCHLEWSKA-DELIMAT, Le valet dans la tradition du théâtre classique 319

  • Piotr SALWA, Il Pecorone e i barbagianni 329

  • Luis SÁNCHEZ FRANCISCO, Cultura e identidad : ensayo filosófico 339

  • Piotr SAWICKI, Podróż po Hiszpanii Jana Stelli-Sawickiego: hiszpańskie korespondencje Wasilija Botkina w XIX-wiecznym polskim przebraniu 349

  • Elżbieta SKIBIŃSKA, L’image du pain dans les expressions figées polonaises et françaises 367

  • Włodzimierz J. SZYMANIAK, Luis Vaz de Camões – żeglarz i trubadur 379

  • Florian ŚMIEJA, Poesía popular religiosa y Alonso de Ledesma 385

  • Małgorzata TOMICKA, Les débuts de la réception critique de Baudelaire en Pologne 395

  • Jan TRZYNADLOWSKI, Wspomnienie o Apollinairze 409

  • Joanna UGNIEWSKA, La fortuna di Giacomo Leopardi in Polonia dal decadentismo ai nostri giorni 417

  • Jacques VOISINE, Les dernières lettres (1775-1778) de Jean-Jacques Rousseau dans le contexte des Dialogues et des Rêveries 425

  • Hana VOISINE-JECHOVA, De La Belle et La Bête au Baiser au lépreux 445

  • Hanna WAŁKÓWSKA, Z dziejów orientalistyki polskiej. Wizerunek indianisty 467

  • Stanisław WIDŁAK, Aspects psycho-sociaux de l’acte dialogué de parole 475

  • Beata ZAKĘS-JAQUET, Miłość, władza i śmierć: mit Inés de Castro w literaturze 485

  • Elżbieta ZAWISZA, Du parler de la femme au parler-femme dans L’Émigré de G. Sénac de Meilhan 493

  • Andrzej ZIELIŃSKI, Dalle letture italiane di G. Herling-Grudziński: Ignazio Silone 509

  • Krzysztof ŻABOKLICKI, Antonio Fogazzaro e la critica polacca (dalla fine dell’ottocento alla seconda guerra mondiale) 525

Romanica Wratislaviensia XLII

Romanica Wratislaviensia XLII: 

Romanica Wratislaviensia XLII

Présenté par Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1996

(Acta Universitatis Wratislaviensis Nr 1742)

 

Table des matières

  • Elżbieta BIARDZKA, Les moyens de traduire en polonais les syntagmes français régis par sauf 7

  • Elżbieta PACHOCIŃSKA, Sur les critères de classement des prépositions 17

  • Anna SAKOWSKA, Les équivalents français de la préposition polonaise za + accusatif au sens causal 33

  • Elżbieta SKIBIŃSKA, Il y a w polskiej praktyce przekładowej 47

  • Witold UCHEREK, Au bout de dans la traduction polonaise 79

  • Maja PAWŁOWSKA, Rôle et signification des digressions dans la structure de La Princesse de Clèves 87

Romanica Wratislaviensia XLIII

Romanica Wratislaviensia XLIII: 

Romanica Wratislaviensia XLIII

Présenté par Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1997

(Acta Universitatis Wratislaviensis Nr 1845)

 

Table des matières

  • Stefan KAUFMAN, De quelques traductions « obliques » du gérondif français en polonais 5

  • Anna SAKOWSKA, Les équivalents français de la préposition polonaise od (+génitif) au sens causal 23

  • Elżbieta SKIBIŃSKA, Un équivalent polonais de on + verbe : V-no/-to39

  • Eugeniusz UCHEREK, La traduction en polonais des locutions prépositives à la suite de et par suite de 51

  • Witold UCHEREK, La traduction en polonais de quelques locutions prépositives françaises construites avec bout 61

  • Carl VETTERS, Temps et fiction 75

  • Marek TOMASZEWSKI, Le triptyque flamand de Marquerite Yourcenar 105

Romanica Wratislaviensia XLIV - "Traduction comme moyen de communication interculturelle..."

Romanica Wratislaviensia XLIV - "Traduction comme moyen de communication interculturelle...": 

Romanica Wratislaviensia XLIV

Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel

Présenté par Elżbieta Skibińska

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1997

(Acta Universitatis Wratislaviensis Nr 1990)

 

Table des matières

  • Elżbieta SKIBIŃSKA, Avant-propos 7

  • Wojciech SOLIŃSKI, Przekłady literatury pięknej jako źródło wiedzy o innej kulturze (wprowadzenie) 9

  • Anna DĄBROWSKA, Frazemy w nowomowie oficjalnej i w literaturze polskiej 15

  • Marcin CIEŃSKI, Stereotypy dotyczące kulturowej rzeczywistości Peerelu w Kompleksie polskim i w Małej apokalipsie Tadeusza Konwickiego 23

  • Stanisław BEREŚ, Manipulacja i szyfr: polska literatura współczesna w lustrze przekładu 41

  • Maryla LAURENT, L’écriture “impressionniste” de Tadeusz Konwicki dans un français “cartésien” 53

  • Elżbieta SKIBIŃSKA, La veille de Noël dans une file d’attente – version française. Le Complexe polonais : traduction - guérison 69

  • Laurence DYÈVRE, Le domaine de l’intraduisible : sacrifice ou peur de l’échec? Pourquoi priver les Français d’un Myśliwski ou d’un Redliński 85

  • Stefan KAUFMAN, La fin de la Seconde Guerre Mondiale en Pologne à travers la traduction française de Cendres et diamant de Jerzy Andrzejewski, par Jerzy Lisowski 93

  • Justyna ŁUKASZEWICZ, L’intérêt d’une lecture parallèle en trois langues : Paweł Huelle et Marek Hłasko entre le polonais, le français et l’italien 117

  • Małgorzata TOMICKA, Rozpoznawanie „warszawskości” we francuskim tłumaczeniu Złego Leopolda Tyrmanda 133

  • Marek TOMASZEWSKI, Witold Gombrowicz est-il devenu un auteur français? 145

Romanica Wratislaviensia XLV

Romanica Wratislaviensia XLV: 

Romanica Wratislaviensia XLV

Présenté par Eugeniusz Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 1998

(Acta Universitatis Wratislaviensis Nr 1995)

 

Table des matières

Articles

  • Monika GRABOWSKA, Autour de l’idée de violence – problèmes de la délimitation du champ sémantique et lexical 7

  • Monika GRABOWSKA, Le multilexique comparatif de Jacques François – présentation de la méthode 15

  • Edmund SIKORA, Fonctions actancielles dans le domaine des verbes de transfert : approche localiste 23

  • Elżbieta SKIBIŃSKA, Un équivalent polonais de on + verbe : infinitif 31

  • Eugeniusz UCHEREK, Du côté de dans les traductions polonaises 45

  • Eugeniusz UCHEREK, Les équivalents polonais des locutions en forme de, sous forme de et sous la forme de 55

  • Carl VETTERS, Le traitement du passé simple en FLE : quelques erreurs à éviter 65

Comptes rendus

  • Elżbieta BIARDZKA, Carl Vetters : Temps, aspect et narration, 1996, Editions Rodopi B. V., Amsterdam, Atlanta, G. A. 89

Romanica Wratislaviensia XLVI - "Traduction comme moyen de communication interculturelle..."

Romanica Wratislaviensia XLVI - "Traduction comme moyen de communication interculturelle...": 

Romanica Wratislaviensia XLVI

Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel (II)

Présenté par Elżbieta Skibińska et Małgorzata Tomicka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2000

(Acta Universitatis Wratislaviensis Nr 2223)

 

Table des matières

  • Elżbieta SKIBIŃSKA, Małgorzata TOMICKA, Avant-propos 7

PREMIÈRE PARTIE

  • Marek TOMASZEWSKI, Entre la mise en abyme et le tableau de la société varsovienne : la version française de Miazga de Jerzy Andrzejewski 17

  • Justyna ŁUKASZEWICZ, My sweet Raskolnikow między oryginałem a przekładem na język francuski 27

  • Małgorzata TOMICKA, Świat znaków i aluzji literackich we francuskim tłumaczeniu Złego Leopolda Tyrmanda 43

  • Laurence DYÈVRE, Du Huitième jour de la semaine à l’Impossible Dimanche, ou des désarrois du lecteur français face à l’implicite de Marek Hłasko 65

  • Maryla LAURENT-ZIELIŃSKA, La littérature post-apocalyptique. Du Szczur de Zaniewski aux Mémoires d’un rat. Le passage d’une quasi-langue à une langue littéraire 75

  • Stefan KAUFMAN, Tłumacz w gabinecie krzywych zwierciadeł: schyłek komunizmu w nowomowie władzy i w spojrzeniu widza naiwnego (O tłumaczeniu powieści Janusza Głowackiego Moc truchleje) 93

  • Elżbieta SKIBIŃSKA, Tłumacz pozbawiony języka. Problem stylizacji mowy postaci we francuskich przekładach powieści Tadeusza Konwickiego 121

 

DEUXIÈME PARTIE

  • Maryla LAURENT-ZIELIŃSKA, Le traducteur, son vécu, ses opinions 147

Anna POSNER, Maryla LAURENT-ZIELIŃSKA, Entretiens d’automne 151

  • Marek TOMASZEWSKI, De la traduction à la fiction : la silhouette interdisciplinaire d’Alain Van Crugten 161

Alain Van CRUGTEN, Marek TOMASZEWSKI, Entretien 168

  • Małgorzata TOMICKA, Muzyczne tropy w Złym Tyrmanda: przekład francuski wobec oryginału 181

  • Stefan KAUFMAN, Un homme digne de ce nom ou un simple imbécile? Images et lectures de Maciek Chełmicki en Pologne et en France 201

  • Elżbieta SKIBIŃSKA, Mała Apokalipsa po francusku 219

  • Beata BACZYŃSKA, Mała Apokalipsa po hiszpańsku 241

  • Justyna ŁUKASZEWICZ, Mała Apokalipsa po włosku 257

  • Wojciech SOLIŃSKI, Mała Apokalipsa po czesku 273

  • Dariusz BRALEWSKI, Les expressions figées dans la poésie de Wisława Szymborska : problèmes de traduction 281

Romanica Wratislaviensia XLVII

Romanica Wratislaviensia XLVII: 

Romanica Wratislaviensia XLVII

Rédacteur du volume – Edmund Sikora

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2001

(Acta Universitatis Wratislaviensis Nr 2299)

 

Table des matières

  • Elżbieta BIARDZKA, Quelques remarques sur hormis 7

  • Stefan KAUFMAN, Structure d’une base de données terminologique 13

  • Elżbieta SKIBIŃSKA, Les Français et les Polonais pleurent-ils les mêmes larmes? Stéréotype des larmes en français et en polonais 27

  • Monika KACZMAREK, Les personnifications dans la première partie du Roman de la Rose – la symbolique des couleurs 39

  • Riccardo CAMPA, Federigo Enriques e l’abito della sincerità 65

Romanica Wratislaviensia XLVIII

Romanica Wratislaviensia XLVIII: 

Romanica Wratislaviensia XLVIII

Rédacteur du volume – Elżbieta Biardzka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2002

(Acta Universitatis Wratislaviensis Nr 2334)

 

Table des matières

LINGUISTIQUE

  • Elżbieta BIARDZKA, La temporalité d’incertitude dans Rue des Boutiques Obscures de Patrick Modiano : la traduction polonaise de certains temps grammaticaux 9

  • Xavier CHANTRY, Emplois de l’onomatopée dans la bande dessinée française 25

  • Monika GRABOWSKA, Champs sémasiologique du verbe szarpać. L’adaptation de l’algorithme CIPreST au lexique verbal polonais 49

  • Stefan KAUFMAN, Natalia PAPROCKA, Entre base de données terminologique et dictionnaire. Élaboration du microglossaire de la civilisation antique romaine 63

  • Anna SAKOWSKA, Les équivalents français de la préposition polonaise przez (+accusatif) au sens causal 81

LITTÉRATURE

  • Davide ARTICO, Negli occhi tuoi ridenti e fuggitivi 95

  • Ewa KULAK, La vie quotidienne en voyage vers la fin du XVIIIe siècle à la lumière du Guide des voyageurs en Europe de H.A.O. Reichard 109

  • Justyna ŁUKASZEWICZ, Entre l’Amphitryon de Molière et l’Amfitrio de Zabłocki 123

Romanica Wratislaviensia XLIX

Romanica Wratislaviensia XLIX: 

Romanica Wratislaviensia XLIX

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2002

(Acta Universitatis Wratislaviensis Nr 2448)

 

Table des matières

LINGUISTIQUE

  • Xavier CHANTRY, Justyna POLAŃSKA, Traduire les onomatopées en bande dessinée : exemple des traductions polonaise et espagnole d’Astérix en Hispanie 9

  • Monika GRABOWSKA, Le monde viril dans Kompleks polski de Tadeusz Konwicki et dans sa traduction française. Analyse des formes adressives 19

  • Stefan KAUFMAN, Problèmes d’application de la méthode terminologique à un domaine d’histoire : vers le dictionnaire franco-polonais de la civilisation antique romaine 35

  • Elżbieta SKIBIŃSKA, Offre d’emploi : modèles français et polonais. Une étude contrastive 49

  • Witold UCHEREK, Les contrastes franco-polonais dans les circonstants temporels avec les noms des parties de la journée 75

  • Carl VETTERS, Remarques sur l’analyse reichenbachienne des temps verbaux 93

LITTÉRATURE

  • Maja PAWŁOWSKA, Huet et Du Plaisir : l’évolution des théories romanesques de l’époque classique 135

  • Justyna POLAŃSKA, El traductor individualista contra el paso del tiempo : la versión polaca de El perro del hortelano 149

  • Justyna ZIARKOWSKA, Paradigmas especiales y la simbología en La casa de Bernarda Alba 161

Romanica Wratislaviensia L

Romanica Wratislaviensia L: 

Romanica Wratislaviensia L

Rédacteur du volume – Witold Ucherek

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2003

(Acta Universitatis Wratislaviensis Nr 2540)

 

Table des matières

LINGUISTIQUE

  • Elżbieta BIARDZKA, Les prépositions à double face : à part et en dehors de. Modèles scientifiques face à l’expression linguistique 9

  • Monika GRABOWSKA, Le tutoiement et le vouvoiement dans la perspective didactique 17

  • Stefan KAUFMAN, Winnie-the-Pooh, Kubuś Puchatek, Fredzia Phi-Phi et Winnie l’Ourson : s’agit-il du même personnage? 31

  • Natalia PAPROCKA, L’erreur en traduction dans la réflexion traductologique 43

  • Elżbieta SKIBIŃSKA, La version polonaise de J’aime lire : un apprentissage indirect de la civilisation française? 65

  • Witold UCHEREK, Problèmes de délimitation des prépositions composées 77

LITTÉRATURE

  • Katarzyna BIERNACKA-LICZNAR, Antonio Fogazzaro: problemi di ricerca 99

  • Katarzyna BIERNACKA-LICZNAR, L’immagine dell’emigrante italiano nelle opere degli autori italo-americani 109

  • Anna CZYŻ, Dépasser le tabou – actes de cannibalisme en Nouvelle-France 129

  • Bruno DONDERI, Quelques exemples de captivité dans le roman français à la fin du XVIIIe siècle 153

  • Ludovico FULCI, Reminiscenze, atmosfere ed echi gozzaniani nel Gattopardo di Giuseppe Tomasi di Lampedusa 187

  • Aleksander Wit LABUDA, Vertige sensuel et appel mystique dans un paysage de Verlaine 195

  • Maja PAWŁOWSKA, Le préambule de Macarise et la théorie romanesque de d’Aubignac 203

  • Krzysztof JAROSZ, Józef Kwaterko, Dialogi z Ameryką. O frankofońskiej literaturze w Quebecu i na Karaibach [Dialogues avec l’Amérique. De la littérature francophone au Québec et dans les Caraïbes], Universitas, Kraków 2003 (Compte-rendu) 211

Romanica Wratislaviensia LI - "Volume dédié au Professeur Józef Heistein à l’occasion de ses 80 ans"

Romanica Wratislaviensia LI - "Volume dédié au Professeur Józef Heistein à l’occasion de ses 80 ans": 

Romanica Wratislaviensia LI

Volume dédié au Professeur Józef Heistein à l’occasion de ses 80 ans

Rédacteurs du volume – Justyna Łukaszewicz et Stefan Kaufman

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2004

(Acta Universitatis Wratislaviensis No 2667)

 

Table des matières

LINGUISTIQUE

  • Davide ARTICO, Lessico di origine germanica nell’italiano medievale 9

  • Elżbieta BIARDZKA, Le « Monde » du déjà dit. Typographie au service de l’hétérogénéité énonciative dans la presse 23

  • Monika GRABOWSKA, Quelques remarques sur la place des pronoms de la troisième personne dans l’interaction verbale 33

  • Stefan KAUFMAN, Le microsystème notionnel du tourisme et sa description terminographique 49

  • Claire RÉTAT-FRYDRYSZAK, La philologie romane en Europe centrale et en France au XIXe siècle 75

  • Elżbieta SKIBIŃSKA, Traduire en polonais on dans sa spécificité delermienne: une tâche impossible ? 83

  • Regina SOLOVÁ, L’humour vianesque dans les traductions polonaises 101

  • Witold UCHEREK, La construction à + adjectif + coups + de dans la traduction polonaise 119

LITTÉRATURE

  • Katarzyna BIERNACKA-LICZNAR, Due vite due realtà : il caso di Pascal D’Angelo – il poeta sconosciuto? 141

  • Bruno DONDERI, Images de la Révolution américaine dans le roman Honorine Clarins de P.J.-B. Nougaret 151

  • Ludovico FULCI, Forme, temi e caratteri della filosofia italiana dal Medioevo agli inizi dell’età contemporanea 165

  • Joanna JAKUBOWSKA-CICHOŃ, L’incomplétude dans Moderato Cantabile de Marguerite Duras – aspects linguistiques 179

  • Diana KOZIŃSKA-DONDERI, Tra parole e immagini – Itinerari artistici di Joanna Pollakówna 193

  • Maurizio MAZZINI, Mont-Oriol : come ti invento una città termale 201

  • Maja PAWŁOWSKA, La vérité et la vraisemblance, l’histoire et le roman dans quelques écrits théoriques du XVIIe siècle (Camus, d’Aubignac, Huet) 213

 

Streszczenia

  • Davide ARTICO, Lessico di origine germanica nell’italiano medievale 9

Streszczenie

NIEKTÓRE PRZYKŁADY LEKSYKALNYCH WPŁYWÓW JĘZYKÓW GERMAŃSKICH NA ŚREDNIOWIECZNE JĘZYKI ROMAŃSKIE W ITALII

Zagadnienie leksykalnych wpływów języków germańskich na włoski jest bardzo złożone pod względem synchronicznym i diachronicznym. Z jednej strony bowiem wpływy zaczęły się już w V w. n.e. i trwają do dziś, z drugiej zaś nie dotyczą tylko nowości technicznych, lecz rów­nież dziedzin, w których od dawna istnieje bogate słownictwo romańskie.

W artykule omówione są cztery odrębne problemy historii języka, a mianowicie: wpływ średniowiecznej dwubiegunowej kultury romańsko-germańskiej na języki Półwyspu Apeniń­skiego do VIII wieku, funkcje denotacyjne i konotacyjne zapożyczeń z języków germańskich, poszczególne aspekty fonologiczne w procesie przekształcania germańskich wyrazów w języ­kach romańskich Italiioraz przykłady germańskich zapożyczeń w języku toskańskim w XIII w.

Nieunikniony problem metodologiczny związany z badaniami w tym zakresie stanowi brak oryginalnych tekstów w językach germańskich, którymi posługiwano się w wiekach średnich na Półwyspie Apenińskim. Z tego powodu przykładowe wyrazy analizowane w artykule są forma­mi zrekonstruowanymi lub pochodzą ze średniowiecznych tekstów germańskich odnalezionych w innych krajach Europy.

 

  • Elżbieta BIARDZKA, Le « Monde » du déjà dit. Typographie au service de l’hétérogénéité énonciative dans la presse 23

Streszczenie

TYPOGRAFIA NA USŁUGACH POLIFONII. NA PRZYKŁADZIE DZIENNIKA „LE MONDE”

Autorka zajmuje się znakami typograficznymi stosowanymi w renomowanym francuskim dzienniku „Le Monde”. Jej zdaniem znaki te mają przede wszystkim za zadanie uwypuklić polifoniczny charakter zawartego w gazecie przekazu informacji. Polifonia rozumiana jest tu za Bachtinem jako właściwość każdego tekstu. Słowa, których używa nadawca, nigdy nie są słowami nowymi - już gdzieś, kiedyś przez kogoś zostały wypowiedziane i echa tych wcześniejszych wypowiedzi pobrzmiewają w wypowiedzi właśnie tworzonej. Nadawca może jedy­nie bardziej lub mniej świadomie i bardziej lub mniej jednoznacznie sygnalizować odbiorcy, że w jego tekście chodzi o słowo cudze, jedynie przytoczone. Wyznacznikami tej „cudzości” w analizowanej gazecie są dwa rodzaje znaków: cudzysłów i kursywa.

W wielu kontekstach różnych przytoczeń (mowa niezależna, tzw. wyspy tekstowe) te dwa znaki współwystępują. Chodzi wtedy o graficzne wyróżnienie słów cytowanych „na żywo”, bezpośrednio i natychmiast, w niewielkim odstępie czasowym między ich wypowiedzeniem a ich publikacją.

W innych kontekstach występuje jedynie cudzysłów, kursywa zaś zanika. Należy tu rozróżnić trzy sytuacje. W pierwszej chodzi o przytoczenie czyjejś wypowiedzi lub sformułowania, które nie ma już charakteru newsa, lecz, kojarzone z określoną sytuacją komunikacyjną, zostaje przechowane w magazynie społecznej świadomości językowej i dzięki temu przytoczo­ne w wypowiedzi właśnie tworzonej. W drugiej sytuacji mamy do czynienia z zabiegiem dziennikarskim - rodzajem „przytoczenia z przytoczenia”. Krótko mówiąc, w tytule lub w podtytule dziennikarz umieszcza w cudzysłowie cytat z obszerniejszych cytatów zamieszczonych w tekście głównym. Wreszcie w trzeciej sytuacji, która dotyczy jedynie „wysp tekstowych”, cu­dzysłów odsyła do pewnego dziennikarskiego metajęzykowego komentarza odnoszącego się do słów użytych w opisie jakichś zdarzeń - z braku innych, „lepszych” słów - których ade­kwatność, z różnych powodów, budzi wątpliwości. W tym ostatnim przypadku głos dzienni­karza zdecydowanie wzmacnia silnie polifoniczny charakter prasowego tekstu.

Tekst prasowy zdaje się reżyserować i przedstawiać rodzaj rozpisanego na wiele głosów spektaklu słowa.

 

  • Monika GRABOWSKA, Quelques remarques sur la place des pronoms de la troisième personne dans l’interaction verbale 33

Streszczenie

KILKA UWAG NA TEMAT ZAIMKÓW TRZECIEJ OSOBY W INTERAKCJI SŁOWNEJ

W teorii Emile'a Benveniste'a zaimek il pełni w pewnej mierze funkcję służebną wo­bec je i tu. W niniejszym artykule pragniemy udowodnić, że zaimek trzeciej osoby nie jest wyłączony z interakcji. Na przykładach zaczerpniętych ze sztuki teatralnej Rogera Vitraca Victor ou les enfants au pouvoir (1928) pokazujemy, że il może zastąpić zarówno pierwszą, jak i drugą osobę. Rozważania te prowadzą nas do próby opracowania stereotypu zaimka trzeciej osoby w interakcji słownej.

 

  • Stefan KAUFMAN, Le microsystème notionnel du tourisme et sa description terminographique 49

Summary

THE CONCEPTUAL FIELD OF THE TOURISM AND ITS TERMINOGRAPHICAL DESCRIPTION

The article is an attempt to show the way that leads from the data found in the documents towards the terminographical description which respects the place of certain concepts in the conceptual system of their subject field and their relation with other concepts. The analysis of two conceptual fields of the subject field of tourism, the classification of the travellers and the divisions of the tourism are based on two fragments of Recommendations on Tourism Statistics published by World Tourism Organization (in French). Drawing up the con­ceptual network of each field and comparing them in one chart allows to propose the entries for a dictionary, taking into account the place of each concept in the system. The conclusions concerning the usefulness and the modes of applying different analytic categories (dependent and independent characteristics, generic relation, conjunction and disjunction of the con­cepts) and the influence which the application of them can have on the definition. Moreover, the analysis of the field “tourism” shows that the main rule of classification is the “point of view” of the tourism organisers, what in some points leads to upsetting the purely logical criteria.

 

  • Claire RÉTAT-FRYDRYSZAK, La philologie romane en Europe centrale et en France au XIXe siècle 75

Summary

ROMANCE PHILOLOGY IN FRANCE AND CENTRAL EUROPE IN THE 19th CENTURY

Philological studies belong to an old cultural tradition shared by countries of Western as well as Eastern and Central Europe, but Romance philology has emerged as a science and a discipline during the 19th century, when Germany politically dominated the central area of Europe. In spite of various attempts made by French scientific and political personalities all along the 19th century, the French institutions have failed to adopt the “tGerman” model of Romance philology. The German cultural influence in this field has been much more powerful in the central part of Europe. As a matter of fact, the word “philology” is until now largely used to designate a science, a field of studies and the institutions in which this type of research and studies is carried out, whereas it is rarely used in France where it refers to a very limited field of scientific research on texts.

 

  • Elżbieta SKIBIŃSKA, Traduire en polonais on dans sa spécificité delermienne: une tâche impossible ? 83

Streszczenie

ON PHILIPPE'A DELERMA W POLSKIM PRZEKŁADZIE

Ze względu na swoje uzależnienie od kontekstu, umożliwiające różne interpretacje odniesień, francuski zaimek nieosobowy on może stanowić interesujący środek konstruowania świata przedstawionego. Przykładem jest jego wykorzystanie przez Philippe'a Delerma w zbio­rze miniopowiadań La première gorgée de bière et autres plaisirs minuscules, gdzie on jest jedy­nym elementem odsyłającym do głównej postaci. Jednocześnie zaś te możliwości interpreta­cyjne zaimka mogą stanowić źródło trudności w przekładzie. Celem artykułu jest sprawdzenie, jak różne sposoby tłumaczenia zaimka on funkcjonują w przekładzie opowiadania Inhalation.

 

  • Regina SOLOVÁ, L’humour vianesque dans les traductions polonaises 101

Streszczenie

HUMOR BORISA VIANA W POLSKICH PRZEKŁADACH

Autorka próbuje odpowiedzieć na pytanie, czy i w jakim stopniu humor słowny Borisa Viana jest przekładalny. Klasyfikacja i analiza gier słownych, neologizmów, zniekształceń dziecięcych wyliczanek oraz nazw własnych ukazuje przede wszystkim wielość strategii stosowa­nych przez tłumaczy (zachowanie sensu i/lub mechanizmu oryginału, kompensacja itp.). Nie­liczne potknięcia tłumaczy nie zaburzają humorystycznego wydźwięku powieści Viana, o czym świadczą przytoczone recenzje młodych polskich czytelników.

 

  • Witold UCHEREK, La construction à + adjectif + coups + de dans la traduction polonaise 119

Streszczenie

KONSTRUKCJA Á + PRZYMIOTNIK + COUPS + DE W TŁUMACZENIU NA JĘZYK POLSKI

Przedmiotem artykułu jest francuska konstrukcja à + przymiotnik + coups + de. W szczególności chodzi o ustalenie paradygmatu przymiotnikowego, tzn. określenie, jakie przymiotniki mogą wystąpić w charakterze rozwinięcia rzeczownika coups. Analiza korpusu wykazuje, że paradygmat ów tworzą grands (à grands coups de), petits (à petits coups de), longs (à longs coups de) i larges (à larges coups de). Najczęściej występującą konstrukcją jest à grands coups de. Z analizy polskich przekładów konstrukcji à + przymiotnik + coups + de wynika brak kategorialnych algorytmów przekładowych, ponieważ nie ma w polszczyźnie odpowie­dników o podobnym znaczeniu i dystrybucji. Tłumacząc à grands coups de, należy w pierw­szej kolejności wybrać odpowiednik rzeczownika coup. Na ów wybór wpływa rzeczownik sta­nowiący prawostronny kontekst à grands coups de.W zależności od sposobu przekładu coup wybiera się odpowiednik przymiotnika grand.W rezultacie otrzymujemy bardzo zróżnicowa­ne odpowiedniki wyrażenia à grands coups de:od grup nominalnych w narzędniku po całe zdania z czasownikiem oddającym częściowo znaczenie tej konstrukcji.

 

  • Katarzyna BIERNACKA-LICZNAR, Due vite due realtà : il caso di Pascal D’Angelo – il poeta sconosciuto? 141

Streszczenie

PASCAL D'ANGELO - POETA NIEZNANY

Artykuł poświęcony jest Pascalowi D’Angelo i historii emigracji włoskiej w Stanach Zjed­noczonych w latach 1910-1921.

Pascal D’Angelo (1894-1932), poeta i pisarz samouk, urodził się w Introdacqua (L’Aquila) w 1894 roku. W 1910 roku wyemigrował razem ze swoim ojcem do Stanów Zjednoczonych, gdzie pracował jako robotnik i odkrył swoje zamiłowanie do poezji. Przybył do Ameryki, jak wielu innych młodych ludzi, z nadzieją na polepszenie swojej sytuacji ekonomicznej i z chęcią zmiany swojego dotychczasowego życia. W 1918 roku podjął pierwsze próby literackie, które nie doczekały się jednak publikacji. Pod koniec 1921 roku zaprezen­tował trzy poezje na konkursie ogłoszonym przez gazetę „The Nation”. Dzięki dyrektorowi czasopisma, Carlowi Van Dorenowi, D’Angelo został zauważony przez amerykańską publiczność. Jego poezje zostały opublikowane i spotkały się z gorącym przyjęciem amerykańskiej krytyki. W 1924 roku ukazała się jego powieść autobiograficzna Son of Italy, w której D’Angelo opisuje swoje rodzinne strony, życie w Abruzzo, jak również swoje życie jako emigran­ta, problemy robotników w Stanach Zjednoczonych.

Życie Pascala D’Angelo jest niezapomnianym przykładem realizacji marzeń biednego włoskiego chłopaka, a zarazem autentycznym głosem emigranta, który ukazuje nam swoje doświadczenia emigracyjne.

 

  • Bruno DONDERI, Images de la Révolution américaine dans le roman Honorine Clarins de P.J.-B. Nougaret 151

Riassunto

IMMAGINI DELLA RIVOLUZIONE AMERICANA NEL ROMANZO HONORINE CLARINS DI P.J.-B. NOUGARET

Nel presente articolo, dopo aver sinteticamente esposto l’argomento, abbiamo citato le opere narrative rappresentative del genere, soffermandoci, in seguito sull’analisi del romanzo Honorine Clarins di Nougaret. Abbiamo trattato dei diversi aspetti della narrazione, sunteggiando a grandi linee l’argomento ed esaminando alcuni aspetti topici e ricorrenti in altre produzioni letterarie. L’immagine dell’America, della Rivoluzione americana e dei suoi principali attori, presente nell’ambito della storia narrata, è stata letta alla luce della confrontazione con altri testi coevi di carattere non finzionale. Dopo queste premesse, abbiamo trat­tato delle „utopie” dell’autore - e della loro fragilità - che si evincono dalle trame del narrato, segnatamente quella riguardante il destino dell’Indiano americano, visto attraverso il prisma di un sostanziale ottimismo da parte del Nostro suggeritogli dalle più recenti conquiste democratiche e libertarie ottenute dai nascenti Stati Uniti d'America.

 

  • Ludovico FULCI, Forme, temi e caratteri della filosofia italiana dal Medioevo agli inizi dell’età contemporanea 165

Summary

FORMS, SUBJECTS AND ASPECTS OF ITALIAN PHILOSOPHY FROM MIDDLE AGES TO THE 20th CENTURY

Why could the Italian philosophy not be conceived? All the peoples in the world have their philosophy, their artistic, literary, religious and cultural tradition. In studying some fundamental aspects of Italian culture, it could be discovered that European nations had been living for a long time according to their own mentality and culture, under the so-called Ancien Régime. Therefore an inquiry about the relevance and the nature of image has to be considered the essence of the philosophical studies in Italy. Here Fine Arts, Religion and alchemy had been manipulating thoughts and things for many centuries.

Why are dialogues, articles, short papers literary forms so typical of the philosophical research after Renaissance? What about self-irony in the Italian theatre? Why is the character of Don Juan so Italian? Perhaps all this has its origin in the new interest of the European philosophy in conceptual dimension of doubt, that gives special forms and aspects to the Italian culture, with its own sensibility to doubt.

 

  • Joanna JAKUBOWSKA-CICHOŃ, L’incomplétude dans Moderato Cantabile de Marguerite Duras – aspects linguistiques 179

Streszczenie

JĘZYKOWE ASPEKTY NIEDOPOWIEDZEŃ W MODERATO CANTABILE MARGUERITE DURAS

Każde dzieło literackie jest ze swej natury niekompletne, co znaczy, że zawiera nieskoń­czoną ilość miejsc niedookreślenia. Roman Ingarden nazywa tekst „szkieletem”, który czytel­nik konkretyzuje według własnych doświadczeń i umiejętności. Umberto Eco natomiast nazywa tekst „mechanizmem leniwym”, który chce powiedzieć tylko tyle, ile musi, aby być zrozumianym. Miejsca niedookreślenia mogą jednak pojawić się w tekście jako element świa­domej strategii dyskursywnej, która ma zachęcić czytelnika do aktywnego udziału w aktuali­zowaniu tekstu. Takie niedopowiedzenia, które można nazwać strategicznymi, są podstawo­wym źródłem napięcia, jakie tworzy się w procesie czytania. Mogą one pojawiać się na róż­nych poziomach utworu: językowym, narracyjnym oraz znaczeniowym. Moderato Cantabile Marguerite Duras jest powieścią, w której niedopowiedzenia strategiczne są cechą dominu­jącą i dotyczą wszystkich poziomów utworu. W warstwie językowej -już na poziomie poszcze­gólnych zdań - można wyróżnić liczne środki, dzięki którym powstają miejsca niedookreślenia utrudniające zrozumienie opowiedzianej historii. Moderato Cantabile nie jest jednak po­wieścią nieczytelną - autorka daje uważnemu czytelnikowi szansę na uzupełnienie części nie­dopowiedzeń. Robi to przede wszystkim za pomocą powtórzenia, które, podobnie jak niedopowiedzenie, jest właściwością każdego dzieła, ale może też być elementem świadomej strategii. W Moderato Cantabile powtórzenia nie są przypadkowe i spełniają przede wszyst­kim funkcję informacyjną: pomagają zrozumieć historię czytelnikowi zdezorientowanemu nadmiarem niedopowiedzeń.

 

  • Diana KOZIŃSKA-DONDERI, Tra parole e immagini – Itinerari artistici di Joanna Pollakówna 193

Résumé

LA PAROLE ET L’IMAGE - ITINÉRAIRES ARTISTIQUES DE JOANNA POLLAKÓWNA

Cet article est consacré à Joanna Pollakówna en tant que critique d'art et, en particulier à ses essais sur la peinture italienne, nés de la reflexion d’une poétesse qui sait joindre, avec bonheur, inspiration poétique, sens esthétique et connaissances techniques. Après avoir fixé les termes de l’ekphrasis comme genre littéraire, possédant une étendue qui dépasse les définitions communes, nous avons essayé d’en retrouver les caractères originels et, en même temps novateurs, à travers la „lecture” de Joanna Pollakówna. Nous avons decelé les traits saillants de sa prose poétique, en proposant au lecteur des échantillons de ses ouvrages - en particulier de Weneckie tęsknoty - où se manifeste sa sensibilité critique ainsi que le pouvoir évocateur de la parole poétique.

 

  • Maurizio MAZZINI, Mont-Oriol : come ti invento una città termale 201

Streszczenie

MONT-ORIOL: JAK WYMYŚLIĆ UZDROWISKO

Powieść Guy de Maupassanta Mont-Oriol zajmuje szczególne miejsce wśród dzieł literackich, których akcja rozgrywa się w uzdrowisku. Powieść ta jest bowiem poświęcona narodzinom i rozwojowi miasta uzdrowiskowego i przypada na ważny okres, w którym bogate, przedsiębiorcze mieszczaństwo - reprezentowane w utworze przez żydowskiego bankiera Andermatta - stopniowo opanowywało życie gospodarcze i towarzyskie kurortów, lansując własne wartości i wzorce postępowania. Wnikliwe, pozbawione złudzeń spojrzenie autora ukazuje typowe dla mieszczaństwa tej epoki traktowanie tego rodzaju miejscowości jako poligonu doświadczalnego kreowania niektórych zjawisk, które będącechowały społeczeństwo masowe: konsumpcjonizm, komercjalizacja sfery usług zdrowotnych, organizowanie wol­nego czasu na szeroką skalę, instrumentalne podejście do nauki, wszechobecna reklama. Wszystkie te zjawiska pisarz uważnie rejestruje. Za parawanem szablonowej historii zakaza­nej miłości Maupassant przekazuje nam także sporą dawkę wiedzy o uzdrowiskowym życiu fin de siècle, znajdującej potwierdzenie w opracowaniach naukowych poświęconych historii zdrojownictwa.

 

  • Maja PAWŁOWSKA, La vérité et la vraisemblance, l’histoire et le roman dans quelques écrits théoriques du XVIIe siècle (Camus, d’Aubignac, Huet) 213

Streszczenie

PRAWDA A PRAWDOPODOBNOŚĆ, HISTORIA A POWIEŚĆ W KILKU PISMACH TEORETYCZNYCH XVII WIEKU (CAMUS, D’AUBIGNAC, HUET)

Rozwojowi siedemnastowiecznej powieści francuskiej towarzyszą pierwsze próby stworzenia poetyki tego gatunku. Teoretycy tacy jak Camus, d’Aubignac oraz Huet próbują określić status powieści na tle gatunków literackich uznawanych w doktrynie klasycznej. Punktem odniesienia tych rozważań jest pogląd Arystotelesa zawarty w Sztuce poetyckiej i ustalający re­lacje między prawdą, jako domeną historii, oraz nadrzędną wobec niej prawdopodobnością (vraisemblance), jako domeną poezji. Tworzący w pierwszej połowie wieku Camus pojęcie prawdy przenosi z historii na teksty zawarte w Piśmie Świętym oraz na wydarzenia, które zna z własnego doświadczenia i literacko transponuje. Prawdopodobności przyznaje rolę podrzęd­ną wobec chrześcijańskiej prawdy moralnej, określając tę pierwszą jako rodzaj łącznika lo­gicznego powieści. Tematykę z historii antycznej wyklucza z romansu. D’Aubignac rozgranicza historię i powieść. Uznając prawdę moralną historii antyku, wykazuje, że może ona istnieć w romansie. Akceptuje jednak powieści, których tematyka jest całkowicie zmyślona. Muszą one spełniać warunek prawdopodobności, którą krytyk rozumie jako wewnętrzną logikę dzie­ła i zgodność z ogólnie przyjętymi sądami. Huet, piszący w drugiej połowie wieku, powiela w swoich sądach koncepcję Arystotelesa, przyjmując, że powieść tematykę swoją powinna czerpać z historii antycznej. Prawdopodobność jest przedstawiona jako, nadrzędna wobec zda­rzeń historycznych, logiczna zasada konieczności, porządkująca i generalizująca historię oraz nadająca faktom znaczenie moralne.

Romanica Wratislaviensia LII

Romanica Wratislaviensia LII: 

Romanica Wratislaviensia LII

Rédacteurs du volume – Elżbieta Skibińska et Davide Artico

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2005

(Acta Universitatis Wratislaviensis No 2810)

 

Table des matières

LINGUISTIQUE

  • Célia BERNEZ, Adjectifs chromatiques et construction morphologique en français 9

  • Elżbieta BIARDZKA, Guillemets, italiques et deux-points : « solitaires typographiques du Monde » 21

  • Magdalena DAŃKO, Quelques grandes théories de l’acquisition du langage dans la perspective interactionniste 29

  • Monika GRABOWSKA, L’interaction et la politesse dans les romans de Boris Vian et leur traduction polonaise 39

  • Stefan KAUFMAN, Le terme : unité du discours spécialisé, du lexique spécialisé et de la description terminographique 53

  • Natalia PAPROCKA, Les erreurs relatives engendrées par les éléments culturels dans les traductions de textes pragmatiques français réalisées par des étudiants polonais 63

  • Monika SZMULEWSKA, Language testing nell’insegnamento-apprendimento dell’italiano come LS 77

  • Witold UCHEREK, Remarques sur la traduction en polonais de la locution au fil de suivie d’un nom non temporel 93

LITTÉRATURE

  • Ludovico FULCI, Pirandello, Manzoni e la storia 107

  • Maurizio MAZZINI, Il fascino delle rive del nord Europa e i suoi riflessi letterari nella prosa del primo Novecento : da Balbec a Travemünde 119

  • Maja PAWŁOWSKA, Jean-Pierre Camus, l’évêque romancier 133

 

Streszczenia

  • Célia BERNEZ, Adjectifs chromatiques et construction morphologique en français 9

Summary

CHROMATIC ADJECTIVES AND MORPHOLOGICAL CONSTRUCTION IN FRENCH

This article is about the means provided by language to build new lexical items to name colours.

Morphologically speaking some of those words involve a noun in the process of con-struction; semantically, a relation of comparison is made between the entity whose name is used and the property denoted by the new item.

But two different morphological operations are possible: either conversion (like orange, rose) or composition (like for rose sparadrap, vert prairie).

The object of this presentation is to describe the reason why a specific operation is chosen. It appears that each entity (object of the world) has a certain number of properties; they can be ranked according to their degree of stereotypy and it is the place occupied by the prop­erty that will determine the choice of the morphological operation.

To create a word of colour by conversion (like orange), the property must be the most stereotypical of the entity; otherwise, a semantic support will be necessary, on the one hand if the property is not stereotypical (rose bonbon) and on the other hand if several properties share the same degree of stereotypy (bleu bahamas).

 

  • Elżbieta BIARDZKA, Guillemets, italiques et deux-points : « solitaires typographiques du Monde » 21

Streszczenie

CUDZYSŁÓW, KURSYWA I DWUKROPEK: SAMOTNE ZNAKI TYPOGRAFICZNE W GAZECIE LE MONDE

Autorka omawia rodzaje i funkcje znaków typograficznych, które we francuskiej gaze­cie Le Monde mogą występować samodzielnie, bez towarzystwa innych znaków. Chodzi o cu­dzysłów, kursywę i dwukropek. Zdaniem autorki znaki te pojawiają się w dwóch seriach kon­tekstów: w pierwszej serii typografia sygnalizuje pewien dystans do cytowanych słów, w dru­giej zaś dystans ten zanika. Szczególny stosunek dziennikarza do cytowanego słowa (i użycie znaku typograficznego) może wynikać z chęci szczególnego potraktowania jego znaczenia, przynależności do jakiegoś charakterystycznego sposobu mówienia (język więźniów, policyj­ny, polityczny, uczniowski) lub z chęci zaznaczenia miejsca cytatu w hierarchii cytowanych wypowiedzi prasowych. Znaki typograficzne w serii drugiej nie wyrażają dystansu dziennika­rza wobec jakiegoś słowa, lecz oddzielają tekst techniczny, dziennikarski (paratekst) od wła­ściwego tekstu informacyjnego. Praca oparta jest na Bachtinowskiej teorii polifonii językowej i stanowi element szerszego projektu badawczego poświęconego rodzajom i funkcjom przy­toczeń prasowych na przykładzie francuskiego dziennika Le Monde.

 

  • Magdalena DAŃKO, Quelques grandes théories de l’acquisition du langage dans la perspective interactionniste 29

Streszczenie

KILKA ZNACZĄCYCH TEORII PRZYSWAJANIA JĘZYKA W PERSPEKTYWIE INTERAKCYJNEJ

Autorka prezentuje kilka największych teorii dotyczących przyswajania języka poprzez interakcje werbalne między członkami danej wspólnoty językowej. W 1875 roku Whitney odrzuca teorię Darwina, uznając, iż język nie jest funkcją biologiczną człowieka, lecz tworem jednocześnie indywidualnym i społecznym. Porównując instynktowną zdolność chodzenia i nabytą zdolność mówienia, Sapir akcentuje, podobnie jak Whitney, główną rolę interakcji werbalnych, między bardziej i mniej doświadczonymi członkami danej wspólnoty językowej, w rozwijaniu kompetencji lingwistycznych i komunikacyjnych. Według Jespersena, aby ba­dać proces przyswajania języka, należy koncentrować się nie tylko na obserwacji wypowie­dzi dzieci (podmiot mniej doświadczony), ale również na analizie wypowiedzi do nich kiero­wanych przez dorosłych (podmiot bardziej doświadczony). Relacja i rozwój interakcji między nimi jest bardzo ważnym elementem procesu przyswajania języka. Vygotski potwierdza tę teorię w swoich badaniach, wysuwając koncepcję „sfery potencjalnego rozwoju”, której isto­tą jest właśnie współpraca między ekspertem i początkującym. Adaptując teorię Vygotskiego, Bruner podkreśla, że cechą wyróżniającą człowieka jest nie tylko zdolność uczenia się, ale także zdolność nauczania. Jeśli dziecko ma wrodzoną predyspozycję do przyswajania języka, to ta predyspozycja wymaga solidnego uporządkowania ze strony towarzyszącego dziecku dorosłego. Podsumowując: aby analizować proces przyswajania języka, niezbędne jest zwrócenie uwagi na naturę i rozwój specyficznych interakcji oraz relację, jaka tworzy się mię­dzy ekspertem i początkującym (nauczającym i uczącym się) w danej sytuacji, w danym kon­tekście. W ten oto sposób interakcja werbalna przestała być postrzegana jako tło procesu przy­swajania języka, lecz stała się jego głównym elementem.

 

  • Monika GRABOWSKA, L’interaction et la politesse dans les romans de Boris Vian et leur traduction polonaise 39

Streszczenie

INTERAKCJA I GRZECZNOŚĆ W POWIEŚCIACH BORISA VIANA I ICH PRZEKŁADZIE NA POLSKI

Artykuł poświęcony jest interakcjom w trzech powieściach Borisa Viana (L’Écume des jours, L'Arrache-coeur i L'Herbe rouge) i ich tłumaczeniu na język polski przez Marka Pu-szczewicza. Przez intrakcję słowną rozumiemy wzajemną akcję o charakterze społecznym obejmującą wiedzę społecznie skonwencjonalizowaną, rzeczywistość społeczną i język. Ar­tykuł obejmuje swoim zasięgiem również interakcje pozasłowne wyrażone w opisach postaw lub zachowań oraz w narracji wydarzeń.

Interakcja regulowana jest zasadą współpracy Grice'a i wiąże się z zastosowaniem różnorakich konwencji grzecznościowych, których rolą jest łagodzenie odstępstw od tej zasady czynionych w imię ochrony wizerunku pozytywnego lub negatywnego jednego z mówiących. Boris Vian zdecydowanie przekracza granice wyznaczone przez zasady obowiązujące w społeczeństwie francuskim XX wieku, co w jego utworach staje się źródłem nieustannego zaskoczenia i komizmu. Jest to trudne wyzwanie dla tłumacza, szczególnie dlatego, że interakcja osadzona jest w kulturze danej społeczności językowej.

Autorka porównuje interakcje w powieściach Borisa Viana z efektem osiągniętym w przekładzie, zarówno jeśli chodzi o stopień oddalenia od konwencji społeczno-językowych, jak i ich rolę w tekście powieści.

 

  • Stefan KAUFMAN, Le terme : unité du discours spécialisé, du lexique spécialisé et de la description terminographique 53

Streszczenie

TERMIN: JEDNOSTKA KOMUNIKACJI SPECJALISTYCZNEJ, LEKSYKI SPECJALISTYCZNYCH ODMIAN JĘZYKA I OPISU TERMINOLOGICZNEGO

Autor omawia różnice między terminem, oznaczeniem pojęcia i jednostką opisu termi­nologicznego a, z jednej strony, specjalistycznym wyrazem tekstowym, z drugiej - wyrazem - leksemem specjalistycznych odmian języka. Rozróżnienia te, często pomijane w literaturze przedmiotu, pozwalają z jednej strony ukazać we właściwym świetle niektóre twierdzenia klasycznej teorii terminologii (niezmienność terminu, brak polisemii i synonimii, pojęcie jako wyłączne znaczenie terminu) jako cechy terminu, celu działalności terminologicznej, nie zaś wyrazu tekstowego lub leksemu specjalistycznego. Z drugiej strony rozróżnienie leksemu specjalistycznego i terminu pociąga za sobą pewne konsekwencje dotyczące budowy zbioru danych terminologicznych (słownika), w szczególności - konieczność dodania do dwóch istniejących poziomów opisu: pojęciowego i dotyczącego terminów, poziomu nowego, dotyczą­cego leksemów specjalistycznych.

 

  • Natalia PAPROCKA, Les erreurs relatives engendrées par les éléments culturels dans les traductions de textes pragmatiques français réalisées par des étudiants polonais 63

Streszczenie

BŁĘDY WZGLĘDNE DOTYCZĄCE ELEMENTÓW KULTUROWYCH W STUDENCKICH TŁUMACZENIACH TEKSTÓW UŻYTKOWYCH Z FRANCUSKIEGO NA POLSKI

Celem autorki jest analiza błędów względnych, czyli wynikających z nieprzestrzegania zaleceń i potrzeb zleceniodawcy, w polskich przekładach francuskich tekstów użytkowych. Analiza obejmuje te błędy względne, które są rezultatem nieprzestrzegania lub nieuwzglę­dnienia warunków odbioru przekładu (celu i odbiorcy), a dokładniej - te, które powstają w ze­tknięciu z elementami kulturowymi obcymi dla odbiorców przekładu. Tłumacz, napotykając taki element, musi zadecydować, jak z nim postąpić: zostawić, zastąpić innym, objaśnić lub pominąć. Każda jego decyzja pociąga za sobą kolejne wybory, które, gdy nie są adekwatne do sytuacji przekładu, mogą wywołać błędy względne.

 

  • Monika SZMULEWSKA, Language testing nell’insegnamento-apprendimento dell’italiano come LS 77

Streszczenie

SPRAWDZANIE I OCENIANIE UMIEJĘTNOŚCI W PROCESIE NAUCZANIA-UCZENIA SIĘ JĘZYKA WŁOSKIEGO

Zagadnienia kontroli i oceny w nauczaniu języków obcych stanowią jeden z trudniej­szych elementów pracy dydaktycznej. Autorka przybliża tematykę language testing w odnie­sieniu do nauczania-uczenia się gramatyki włoskiej, opierając się na założeniach nowoczesnej glottodydaktyki i odnosząc się do wytycznych zawartych w odpowiednich dokumentach Ra­dy Europy, a kończąc na publikacji wyników badań prowadzonych w zakresie efektywności kontroli bieżącej i okresowej. W pierwszej części artykułu poruszone zostały kwestie ogólne dotyczące kontroli i oceniania oraz ich funkcji, rodzajów testów i kryteriów ich poprawności; druga dotyczy praktycznego wymiaru procesów kontroli i oceniania w świetle badań prowa­dzonych wśród studentów.

 

  • Witold UCHEREK, Remarques sur la traduction en polonais de la locution au fil de suivie d’un nom non temporel 93

Streszczenie

O POLSKICH PRZEKŁADACH KONSTRUKCJI A U FIL DE + RZECZOWNIK NIECZASOWY

W artykule badane są polskie tłumaczenia francuskich konstrukcji: przyimek au fil de + rzeczownik nieczasowy (Nnt). W pozycji rzeczownika występują w zgromadzonym korpusie przede wszystkim nazwy różnych czynności, procesów i stanów oraz wyraz eau (‘woda’). Z analizy przekładów wynika, że w polszczyźnie brakuje takich odpowiedników, które mia­łyby zarówno zbliżone znaczenie, jak i dystrybucję. Na wybór odpowiednika francuskiej kon­strukcji au fil de + Nnt ma wpływ semantyzm rzeczownika poprzyimkowego oraz to, czy kon­tekst implikuje jedynie powtarzalność danej czynności, czy też jej intensyfikację.

 

  • Ludovico FULCI, Pirandello, Manzoni e la storia 107

Résumé

PIRANDELLO, MANZONI ET L'HISTOIRE

Dans le présent article on étudie les corrélations entre la nouvelle de Pirandello La trage­dia di un personaggio [La tragédie d'un personnage] et la vogue „manzonienne", avec une référence particulière à ce qu’on peut définir „question du temps historique dans la narration”. Une telle question est explicitement posée par le héros principal de la nouvelle, qui déclare avoir un système (celui d'une lunette retournée) pour éloigner les événements présents en les plaçant dans un temps lointain.

Pour l’auteur du présent article, il s’agirait d’une prise de distance par rapport aux positions de Benedetto Croce - critique sévère de l’essai sur l’Humorisme de Pirandello et défenseur de sa fameuse théorie selon laquelle „toute histoire est actuelle”. Le héros principal de la nouvelle de Pirandello, qui est un philosophe, renverse le postulat de Croce et suggère que dans un récit historique il y a des stratégies pour s’éloigner d’une source actuelle de préoccupations, d’inquiétudes et de soucis, justement parce que le présent, en tant que tel, est vivant et fait souffrir.

 

  • Maurizio MAZZINI, Il fascino delle rive del nord Europa e i suoi riflessi letterari nella prosa del primo Novecento : da Balbec a Travemünde 119

Streszczenie

FASCYNACJA WYBRZEŻEM PÓŁNOCNEJ EUROPY I JEJ ŚLADY W PROZIE POCZĄTKU XX WIEKU: Z BALBEC DO TRAVEMÜNDE

Świat antyczny nie znał fascynacji morzem. Nie ma jej śladów nawet w Odysei, morskim eposie par excellence. Literatura rzymska z kolei ugruntowała obraz Morza Śródziemnego, który ciążył na swobodnej, osobistej percepcji krajobrazu śródziemnomorskiego ze strony podróżników do XIX wieku. Chrześcijaństwo upowszechniło przerażający obraz morza i wybrzeża jako reliktu po potopie, znaku winy człowieka i ostrzeżenia przed boskim gniewem. Na przełomie XVII i XVIII wieku w Holandii narodził się podziw dla morza i ludzi, którzy z niego żyją, ale „odkrycie morza”, jego piękna i walorów leczniczych zawdzięczamy XVIII-wiecznej Anglii. Prymat północnego wybrzeża przetrwał do połowy XIX wieku, ale można dostrzec fascynację nadmorskim krajobrazem północnym jeszcze w takich arcydziełach pro­zy pierwszej połowy XX wieku, jak W poszukiwaniu straconego czasu M. Prousta, w którym kąpielisko Balbec jest miejscem odkrywania fałszu świata, zmienności ról społecznych i gry pozorów, oraz Buddenbrookowie T. Manna, gdzie plaża w Travemünde staje się przestrzenią przelotnego marzenia Toni o możliwości kształtowania własnego losu.

 

  • Maja PAWŁOWSKA, Jean-Pierre Camus, l’évêque romancier 133

Streszczenie

JEAN-PIERRE CAMUS, BISKUP ROMANSOPISARZ

Biskup Jean-Pierre Camus, jeden z czołowych romansopisarzy pierwszej połowy XVII wieku, pisarstwo swoje traktował jako posłannictwo i dążył do zastąpienia popularnych wów­czas romansów powieścią pobożną, by w ten sposób ewangelizować zwyczajowych czytelni­ków tego typu lektur. Bycie duszpasterzem i romansopisarzem było w owych czasach z zało­żenia sprzeczne, gdyż Kościół potępiał powieści, uważając je za demoralizujące. Utwory swo­je Camus opatrywał wstępem lub posłowiem, w których rekomendował dzieła jako moralnie pożyteczne oraz ostro potępiał współczesne mu romanse i ich autorów. Krytyka romansu, przeważająca w wypowiedziach teoretycznych Camusa, nie jest jednak pełna. Pewne zawar­te w nich uwagi ukazują jego fascynację tym gatunkiem oraz przyjemność, jaką czerpał ze swej twórczości. Uwarunkowania etyczne i estetyczne czasów, w których tworzył Camus, sprawiły, iż jego autentyczna skłonność pisarska została ukryta pod swoistą autokreacją, ma­jącą na celu zjednanie mu przychylności moralistów. Pragnienie Camusa, by zadowolić kry­tyków, ukazuje siłę oddziaływania konwencji etycznych i literackich w jego epoce. Wypowie­dzi, w których popiera on romans, są natomiast dowodem na siłę oddziaływania i atrakcyj­ność gatunku oraz zapowiadają jego przyszły sukces.

Romanica Wratislaviensia LIII - "Mélanges de langue et de littérature offerts au Professeur Eugeniusz Ucherek"

Romanica Wratislaviensia LIII - "Mélanges de langue et de littérature offerts au Professeur Eugeniusz Ucherek": 

Romanica Wratislaviensia LIII

Mélanges de langue et de littérature offerts au Professeur Eugeniusz Ucherek

Rédacteur du volume – Elżbieta Biardzka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2006

(Acta Universitatis Wratislaviensis Nr 2848)

 

Table des matières

  • Eugeniusz Ucherek. Notice biographique (Elżbieta BIARDZKA) 7

  • Michel BELLOT-ANTONY, Vocabulaire et société en France dans la seconde moitié du XXe siècle 11

  • Elżbieta BIARDZKA, Sur sous et de ses (faux)-amis polonais. L’espace et son image dans la tête des Français et des Polonais 21

  • Krzysztof BOGACKI, Avec et ses équivalents polonais dans la perspective de la traduction automatique 27

  • Urszula DĄMBSKA-PROKOP, Comment traduire une préposition? 35

  • Krystyna GABRYJELSKA, Francuska opera komiczna w Polsce w XVIII wieku 39

  • Teresa GIERMAK-ZIELIŃSKA, Prépositions à et de : un contraste de sens possible? 59

  • Monika GRABOWSKA, Graffiti, blog, podcasting, sms, chat… quelques réflexions sur la communication des jeunes 67

  • Stefan KAUFMAN, La terminologie entre la description et la norme : quelques éléments de réflexion 81

  • Marek KĘSIK, Des « seins hauts » aux « fesses rondes ». Méronymes corporels : contraintes sémantiques et syntaxiques 89

  • Justyna ŁUKASZEWICZ, L’onomastique au théâtre : noms des personnages dans les drames de Franciszek Zabłocki et leurs modèles français 99

  • Maja PAWŁOWSKA, Des méandres de la typologie du roman chez l’abbé d’Aubignac 111

  • Michel QUEREUIL, Les italianismes dans le Devisement du monde de Marco Polo 119

  • Piotr SAWICKI, Jitka SMIČEKOVÁ, Vieil arbre d’un coup ne s’arrache. Gobelin starości zbiorową wyobraźnią czterech narodów spleciony 127

  • Edmund SIKORA, Sémantique lexicale du point de vue du Lexique Génératif 139

  • Elżbieta SKIBIŃSKA, Dépersonnalisation et anonymat au service des idées reçues : observations sur le pronom on dans Madame Bovary 151

  • Witold UCHEREK, L’expression à la base de est-elle un équivalent français des locutions polonaises na podstawie (+génitif), na bazie (+génitif) et w oparciu o (+accusatif) ? 161

 

Streszczenia

  • Michel BELLOT-ANTONY, Vocabulaire et société en France dans la seconde moitié du XXe siècle 11

Summary

FRENCH VOCABULARY AND SOCIETY IN THE SECOND HALF OF THE 20th CENTURY

The purpose of this short study is to show, starting from a listof new words and meanings found in Le Petit Robert between 1960 and 1999, how lexical creation reflects the evolutionof society. It appears that the majority of these neologisms came to life in the sixties and that, particularly in the aftermath of the 1968 events, they were mainly concerned with the liberalisation of manners. In the following decades lexical creation was less important and was mainly linked to the expansion of new technologies (electronics, computer science and new communication media). Thus, in its own way, thedictionary tellsus about the history of the society and testifies to the vitality and wealth of the French language.

Key words: vocabulary, society, neologism

 

  • Elżbieta BIARDZKA, Sur sous et de ses (faux)-amis polonais. L’espace et son image dans la tête des Français et des Polonais 21

Summary

THE PREPOSITION SOUS AND ITS POLISH “RELATIVES”. SPACE AND ITS FRENCH AND POLISH MENTAL IMAGES.

The study examines the locative uses of the French preposition sous and its two Polish equivalents, prepositions na [on] and w [in] used with the locative. The latter two can be equivalents of sous only in specific contexts which, according to the present author, are determined by the differences in how the French and the Poles perceive the linguistic (contained in the language) spatial visions of certain localisers. This applies, for instance, to the often makeshift constructions such as "summerhouses, porches, tents, huts" as well as arch-shaped localisers such as "tunnels, gates". The French mental image of these localisers focuses on the fact that these constructions have roofs, which in the case of tents and summerhouses determines their function: to protect against rain and sun and provide some shelter. That is why the French nouns that name these localisers are preceded by the preposition sous which localises them on the vertical axis and expresses the spatial subordination of the localised object with respect to the localiser’s roof. The Polish mental image either emphasises the fact that these constructions have floors (« weranda - na werandzie »; porch - on the porch), in which case the names of such localisers are preceded by the Polish preposition na expressing spatial superordination, or it treats these localisers as containers, simplified cuboids, and in that case their Polish names are preceded by the preposition na expressing spatial insidedness. Language is not a carbon copy of reality; the notions of events and objects contained in it are processed and often simplified. Some features of objects are blurred, other are emphasised. One can, therefore, talk of a mental image of an object or a linguistic stereotype which determines the use of specific linguistic forms.

Key words: stereotype, preposition, space

 

  • Krzysztof BOGACKI, Avec et ses équivalents polonais dans la perspective de la traduction automatique 27

Summary

AVEC AND ITS POLISH EQUIVALENTS IN THE LIGHT OF MACHINE TRANSLATION

The ambiguity of natural languages is one of the obstacles in machine translation. Two methods are used to remove it, neither of which is 100% certain, however. The present author presents a method based on an analysis of the context in which the French preposition avec appears and is to be translated into Polish. The removal of ambiguity means expanded descriptions of lexical units on the transfer dictionary level and more translation rules added in the form of local grammars. The descriptions of lexemes depend on the languages between which the translation is made and on the direction of the translation. A complete removal of ambiguity is impossible.

Key words: preposition, automatic translation, equivalence

 

  • Urszula DĄMBSKA-PROKOP, Comment traduire une préposition? 35

Summary

HOW TO TRANSLATE PREPOSITIONS?

As we know, the translator has to ask and answer two questions: 1° how is the translation process determined by the structural differences between the source language and the target language; 2° what is the role of different mentalities shaping the two cultures in their contact.

The present study focuses on only one specific problem: the use of prepositions in three translations of a passage from Jean Rouaud's Les Champs d'honneur (Goncourt Prize winner for 1999). We demonstrate the polysemy of the preposition dans as well as different solutions proposed by the three translators. The function of the selected passage was underlined too - as an expression of opinio communis, and, at the same time, of a subjective point of view of the author. This analysis can be further developed.

Key words: translation, polysemy, prepositions

 

  • Krystyna GABRYJELSKA, Francuska opera komiczna w Polsce w XVIII wieku 39

Résumé

L’OPÉRA COMIQUE FRANÇAIS EN POLOGNE AU XVIIIe SIÈCLE

Le théâtre polonais au XVIIIe siècle a subi une notable influence étrangère, surtout française qui à l’époque rayonnait sur lEurope. La réception des pièces françaises en original encourageait aussi de nombreuses traductions, qui à son tour, allaient de pair avec une riche et abondante réflexion théorique concernant lart de traduire. Le besoin d'élargir la production locale était bien visible, surtout les adaptations des pièces françaises constituaient un élan important dans lessor de la scène polonaise.

Lintervention dans le texte original se produisait de différentes façons mais en général et les auteurs, et les théoriciens s'accordaient que l’œuvre adaptée doit respecter le goût du spectateur et encore être ouverte à lactualité, ce qui veut dire présenter les mœurs du temps et du pays. On était conscient que c'est une œuvre qui naît des rapports qu'entretient le spectacle avec son public. En effet, il s'agissait de respecter dans l’œuvre adaptée la couleur locale, les événements historiques, les mœurs et les habitudes quotidiennes.

L'opéra comique français a effectivement enrichi la production des œuvres locales et en même temps il a considérablement augmenté la culture théâtrale et musicale en Pologne. Ce genre souple, joyeux et plaisant était le meilleur moyen doffrir aux spectateurs un divertissement agréable avec une fonction moralisatrice tellement appréciée par les gens des Lumières.

Summary

THE FRENCH COMIC OPERA IN POLAND IN THE 18th CENTURY

The Polish theatre in the 18th century was under a huge French influence, and France was then the most proeminent cultural country in Europe. The reception of French plays in the original language also led to many translations which, in turn, promoted a rich and abundant theoretical reflection on the art of translation. The need to enlarge local output was clear and above all, adaptations of French plays contributed to an important development of the Polish theatre.

The translation operations on the original texts differed but usually, their authors as well as the theoreticians agreed that the adaptated play must fit with the audience's tastes and be in accordance with their time, which means that they had to display the customs of the epoch and the country. Everyone was conscious that it had to be an art emerging from connections between the play and the public. The adapted plays were therefore supposed to respect local folklore, historical events, customs and everyday behaviours.

The French comic opera substantially enriched the production of local plays and, at the same time, considerably increased the theatrical and musical Polish culture. This flexible, joyful and funny genre was the best means to present to the public a pleasant entertainment containing the moral teaching which the people of the Age of Enlightenment so much appre-ciated.

Key words: 18th-century theatre, Polish translation, adaptation

 

  • Teresa GIERMAK-ZIELIŃSKA, Prépositions à et de : un contraste de sens possible? 59

Summary

PREPOSITIONS ÁAND DE AS A POSSIBLE PAIR OF ANTONYMS

The author demonstrates the possibility of the existence of an antonymous relation with respect to a common spatial domain of meaning. The preposition áis treated as an operator that links the static predicate ‘be’ with the locative argument ‘place’. On the other hand, the preposition de links the dynamic predicate ‘cease to be’ with the argument of place. The opposition of prepositions is therefore closely related to the aspect of the predicate. The uses of prepositions in temporal and abstract phrases do not display such distinct opposing features. The author’s analysis of the uses of prepositions is based on an excellent contrastive description included in Eugeniusz Ucherek's French-Polish dictionary of prepositions.

Key words: preposition, antonym, syntax

 

  • Monika GRABOWSKA, Graffiti, blog, podcasting, sms, chat… quelques réflexions sur la communication des jeunes 67

Summary

GRAFFITI, BLOG, PODCAST, SMS, CHAT... REFLECTIONS ON HOW YOUNG PEOPLE COMMUNICATE

The article explores the forms of communication used by young people, forms that have flourished as a result of increased mobility of the world's population (following a fall in the costs of travel) and the development of internet and satellite technologies. These forms are: graffiti, blog, text messages, chat and podcast (system of exchange of audio and video files).

The article presents these forms of communication from the point of view of terminology, emphasising their complexity (especially in the case of graffiti, initially an act of vandalism, an expression of the hip-hop culture, now also used for ideological and purely artistic purposes on surfaces specially allocated for this). The author then draws certain conclusions concerning the transformation which communicative functions have undergone in the 21st century. These include unification of the reference space (the city and the internet); expansion of communication channels; decline in the value of writing in comparison with the spoken code; disappearance of borders between written, digital and iconographic codes; disappearance of the sentence; increasing significance of the dialogue, domination of the poetic and the phatic functions in utterances, evolution of phonetics and spelling.

Key words: graffiti, communication technologies, functions of communication

 

  • Stefan KAUFMAN, La terminologie entre la description et la norme : quelques éléments de réflexion 81

Summary

TERMINOLOGY BETWEEN NORM AND DESCRIPTION. REFLECTIONS

Many misunderstandings concerning the traditional theory of terminology result, it seems, from an insufficiently clear distinction between norm and description, between the research that wants to give an account of the existing state of affairs and the practice that wants to improve it. In the light of the above distinctions, the author discusses the basic axioms of classical terminology: the realism of terminology, the onomasiological character of termi­nology and terminological activity, the treatment of concepts and their systems as the subject of terminology, the treatment of the concept as the only meaning of a term, the unequivocalness of relations between the term and the concept, the immutability of the term, the universality of specialist terms.

Key words: terminology, descriptive approach, prescriptive approach

 

  • Marek KĘSIK, Des « seins hauts » aux « fesses rondes ». Méronymes corporels : contraintes sémantiques et syntaxiques 89

Summary

FROM « SEINS HAUTS » (FIRM BREASTS) TO « FESSES RONDES » (ROUND BUTTOCKS). MERONYMS OF BODY PARTS: SEMANTIC AND SYNTACTIC DETERMINANTS

The article refers to G. Kleiber's studies on meronymic associative anaphora (part-whole relationship), such as tree-trunk, and in particular to the difficulties encountered during analysis of anaphoras concerning body parts (cf. Le garçon courait sous la pluie. *Les pieds étaient mouillés. “The boy ran in the rain. *The feet were wet.”). Kleiber’s suggestion to use “absolute” structures alienating the body (cf. Le garçon courait sous la pluie, les pieds mouillés) and controlled by the subject of the main clause does not allow us to describe appositional structures (détachées) not controlled by the subject. This becomes possible only if we take into account the contextual-diachronic approach to these structures proposed by B. Combettes. The present article is an attempt to combine both types of analysis and at the same time to solve other problems, including the identification of the antecedent, the classification of features or the difference between the syntactical and the conceptual structures. The analysis focuses on the vivid portrayal of a narcissistic Amazon from B. Combettes’ monograph.

Key words: anaphora, part-whole relations, syntax

 

  • Justyna ŁUKASZEWICZ, L’onomastique au théâtre : noms des personnages dans les drames de Franciszek Zabłocki et leurs modèles français 99

Summary

ONOMASTICS IN THE THEATRE : NAMES OF CHARACTERS IN FRANCISZEK ZABŁOCKI’S PLAYS AND THEIR FRENCH MODELS

Franciszek Zabłocki’s plays came into being as a result of translations or adaptations of French plays, from Molière’s comedies to bourgeois drama. Some names of characters are translations (translocations, adaptations or transpositions) of anthroponyms occurring in the original works, but – following the prevailing tendency in the Polish theatre at the time – they are less numerous than the meaningful names (created independently of the originals or inspired by proper names present there). The names (including diminutives) and surnames used by Zabłocki, names that can be classified according to four of Czesław Kosyl’s main trends of literary nomenclature (realistic, pseudo-onomastic, conventional and semantic), take part in the process of obliterating the traces of the original culture and creating new local colour, and enrich the characters’ construction.

Key words: onomastics, theatre, translation

 

  • Maja PAWŁOWSKA, Des méandres de la typologie du roman chez l’abbé d’Aubignac 111

Summary

TYPOLOGICAL INTRICACIES IN FATHER D’AUBIGNAC’S NOVEL

The emergence of the 17th century French romance was accompanied by attempts to create a typology of this new literary genre. One of those attempts was made by Father d’Aubignac in the foreword to his novel, Macarise ou la Reine des Isles Fortunées. D’Aubignac distinguished three types of romances: historical romances based on ancient epics; romances with entirely fictional subjects; romances presenting, in an oblique way, contemporary events at the court. This typology was based on inventio, its verisimilitude, and the moral significance of particular works. These criteria, considered by d'Aubignac to be the measures of the value of each work, were not applied systematically by him, and despite the fact that he condemned fictitiousness in historical novels, he did allow them in fictional romances. In general, d'Aubignac criticised all types of existing novels. Instead, he proposed, as a new model, his own allegorical novel Macarise in which he combined the structure of a novel with a philosophical subject-matter. He wanted thus to ennoble a genre that was disrespected by the critics. D'Aubignac proposal was, however, roundly rejected by the readers; the novel was pronounced badly structured and boring.

Key words: French theory and criticism, 17th-century French novel, baroque French adventure novel

 

  • Michel QUEREUIL, Les italianismes dans le Devisement du monde de Marco Polo 119

Summary

ITALIAN BORROWINGS IN MARCO POLO’S DEVISEMENT DU MONDE

Le Devisement du monde, which gives an account of Marco Polo’s famous travels, retains many linguistic clues reminding us of its genesis. It was indeed probably written by a writer from Pisa after he had listened to the Venetian traveller’s story when they were both in prison in Genoa. Though the language of the book was French, the manuscripts which we can read today show numerous Italianisms, mainly in the French-Italian version. The purpose of this paper is to study some of those characteristics both in the French-Italian version and in the French one.

Key words: Italian loan-words, vocabulary

 

  • Piotr SAWICKI, Jitka SMIČEKOVÁ, Vieil arbre d’un coup ne s’arrache. Gobelin starości zbiorową wyobraźnią czterech narodów spleciony 127

Résumé

VIEIL ARBRE D’UN COUP NE S’ARRACHE. UNE TAPISSERIE DE LA VIEILLESSE TISSÉE DANS L’IMAGINAIRE COLLECTIF DE QUATRE PEUPLES

Nous avons observé les similitudes et les différences dans la manière d’exprimer et de valoriser les phénomènes et les comportements caractéristiques de la vieillesse sur base des proverbes français, espagnols, polonais et tchèques les plus marqués. Classés par thèmes, ils donnent une image de la vieillesse même, mais aussi des préjugés et des restrictions que chacune de ces cultures lui superposent, en particulier dans le domaine érotique. Les questions érotiques transparaissent surtout dans la tradition espagnole, plus conservatrice, tandis que proverbes français, plus sentencieux et plus complexes, expriment avec subtilité tant les limitations que les besoins du troisième âge. Quant aux proverbes slaves, ils ont un caractère plus populaire, ils sont expressifs et truculents, ils sont souvent ironiques, voire mordants. Leur caractère explicite et imagé rappelle le refranero espagnol et confirme des similitudes entre l’imaginaire populaire de ces deux cultures, certes éloignées l’une de l’autre géographiquement, mais enracinées dans un tronc culturel commun, dans la civilisation de l’Europe romanisée où le latin, comme langue de communication, a aussi donné les prototypes de nombreux proverbes.

Summary

VIEIL ARBRE D’UN COUP NE S'ARRACHE. TAPESTRY OF THE OLD AGE WOVEN BY COMMON IMAGINATION OF FOUR NATIONS

The authors examine differences and similarities in expressing value judgements of various phenomena and behaviour characteristic for old age on the basis of the most typical French, Spanish, Polish and Czech proverbs. When ordered systematically, they depict the old age itself as well as the prejudices and social restrictions, especially concerning erotica, present in each of the four cultures. The restrictions are particularly strong in Spain's conservative tradition, while the aphoristic and concise French proverbs subtly express both the restrictions and the needs of the third age. Slavic proverbs are more plebeian; they are blunt and expressive, often playful or even biting. Their explicitness and vividness resemble Spanish refranero, which confirms the similarity of the folk imagination of the nations - geographically distant but growing from the same cultural roots of the Romanised Europe and of Latin, the language of mutual communication and the source of many proverbs.

Key words: old age in proverbs, Romaine and Slavonic proverbs

 

  • Edmund SIKORA, Sémantique lexicale du point de vue du Lexique Génératif 139

Summary

LEXICAL SEMANTICS FROM THE POINT OF VIEW OF THE GENERATIVE LEXICON THEORY

The present article is an attempt to present, in a concise manner, what is new and apparently less common within the research on the meaning of lexical units, what is associated with a theory known as J. Pustejovsky’s Generative Lexicon theory. There are two components of the Generative Lexicon:

  • semantic representation of the meaning of lexical units, and

  • series of mechanisms that generate each new meaning of a particular expression arising from its context, through interaction between the content of the expression and its arguments.

The first component concerns four levels of the definition of meaning. They are:

- argument structure implied by a given lexical unit,

- event structure,

- structure of typical features of a given object or event called qualia,

- inheritance structure which show how a particular structure of meaning is related to other structures with respect to the selection of typical arguments.

The second component concerns three types of processes generating new meanings. They are:

- “coercing” of a change in the typical semantic interpretation of a given lexical unit by the

superordinate word, without changing its typical syntactic value,

- selective binding of the current meaning of an adjective depending on the meaningful part of the noun determined by this adjective,

- co-composition that explains the change in the meaning of, for instance, a verb caused by the meaning of its argument.

Key words: type coercion, selective binding, co-composition

 

  • Elżbieta SKIBIŃSKA, Dépersonnalisation et anonymat au service des idées reçues : observations sur le pronom on dans Madame Bovary 151

Summary

INDEFINITENESS AND ANONYMITY IN THE SERVICE OF STEREOTYPE: REFLECTIONS ON THE PRONOUN ON IN MADAME BOVARY

The French pronoun on, whose interpretation - as it has often been described in detail - depends on various elements of the context, may be an interesting tool for constructing the represented world in a novel, a fact supported by an increasing number of studies devoted to the analysis of the function of on in literary texts (Maingueneau, Rabatel, Jonasson, Mellet). The present author intends to determine certain specific ways of using on. She analyses those situations in Madame Bovary which allow us to identify the agent but where the indefinite pronoun causes the agent to be presented as indefinite or anonymous. The use of this pro­noun strengthens the stereotypical nature of the behaviour or statements of some characters, which reflects one of the central ideas of Flaubert’s novel, to expose the working of stereotypes.

Key words: French pronoun on, French novel, stereotype

 

  • Witold UCHEREK, L’expression à la base de est-elle un équivalent français des locutions polonaises na podstawie (+génitif), na bazie (+génitif) et w oparciu o (+accusatif) ? 161

Summary

IS THE PHRASE Á LA BASE DE THE FRENCH EQUIVALENT OF THE POLISH PREPOSITIONAL PHRASES NA PODSTAWIE [ON THE BASIS OF] ( + GENITIVE), NA BAZIE [BASED ON] (+GENITIVE) AND W OPARCIU O [DRAWING ON] (+ACCUSATIVE)?

The article is an attempt to determine what makes native speakers of Polish use the complex preposition á la base de to express the relational feature 'opierając się na' [drawing on], instead of using sur la base de in this context. Although an analysis of particular base-linked entries in selected French dictionaries reveals a rather fragmentary picture of the relations between phrases containing the nominal element base, phrases which also include á base de and sur base de, there is no doubt that only sur la base can be regarded as an inter-language synonym of such Polish structures as na podstawie czegoś [on the basis of something], w oparciu o coś [drawing on something] or na bazie czegoś [based on something]. Yet the existing general bilingual Polish-French and French-Polish dictionaries do not confirm the existence of such an equivalence: na podstawie czegoś and its synonyms are usually translated with participial phrases, while sur la base de is not taken into account at all. An analysis of specialist dictionaries, on the other hand, suggests that the relation expressed in Polish by the above mentioned complex prepositions is relatively infrequently rendered in French by analogous formal means. This is the first reason for linguistic errors made by native speakers of Polish who want to express this relationship in French by using a complex preposition with a similar lexical composition, which means a phrase containing the word base. In addition, from among the four phrases containing this component they choose á la base de since it follows the most frequent structural pattern of French complex prepositions.

Key words: French and Polish prepositions, comparative linguistics, translation

Romanica Wratislaviensia LIV - "Le verbe dans tous ses états"

Romanica Wratislaviensia LIV - "Le verbe dans tous ses états": 

Romanica Wratislaviensia LIV

Le verbe dans tous ses états

Volume dédié au Professeur Edmund Sikora à l’occasion de ses 70 ans

Rédacteur du volume – Monika Grabowska

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2007

(Acta Universitatis Wratislaviensis Nr 2941)

 

Table des matières

  • Introduction 7

  • Davide ARTICO, Alcune considerazioni sull’uso del passato remoto nel XVI secolo 11

  • Elżbieta BIARDZKA, Note sur le verbe du dire en discours direct. Cas de la presse écrite 19

  • Pedro CAMPOS FERNÁNDEZ DE PIÉROLA, La referencia de las oraciones ecuativas 25

  • Monika GŁOWICKA, Valores y usos de algunos verbos de movimiento españoles y sus equivalentes polacos 35

  • Monika GRABOWSKA, Le participe présent dans la didactique du français langue étrangère 47

  • Stefan KAUFMAN, Le verbe en langues de la spécialité : vers une description terminographique 67

  • Ewelina MARCZAK, Dire, hasarder les demi-mots, ouvrir la bouche... Quelques remarques sur les verbes de communication dans Armance de Stendhal 77

  • Natalia PAPROCKA, Verbes de communication et autres introducteurs de citations du discours direct dans les articles de presse française et dans leurs traductions polonaises 91

  • Maja PAWŁOWSKA, Comment on parlait de la nature dans la seconde moitié du XVIIe siècle : la correspondance de Mme de Sévigné 109

  • Elżbieta SKIBIŃSKA, On + voir dans la traduction polonaise de récits historiques : observations 119

  • Eugeniusz UCHEREK, Les corrélations de... en... et d’un... à l’autre et leurs équivalents traductifs polonais dans les constructions avec les verbes de mouvement 133

  • Dominique VERBEKEN, Présent et présentification : une question de point de vue 139

 

Streszczenia

  • Davide ARTICO, Alcune considerazioni sull’uso del passato remoto nel XVI secolo 11

Summary

SOME REMARKS ON THE USE OF SIMPLE PAST TENSE IN THE 16th CENTURY TUSCAN

The article presents selected results of a research on the use of past tenses in the 16th century’s Tuscan based upon a fragment from one Giorgio Vasari’s letters. In the analysis, forms are provided of a simple past tense which is morphologically similar to passato remoto in modern Italian, although it was meant to describe past actions still connected to the present. Therefore, the tense approximately acted as the Latin perfectum logicum. The examined text features as well forms of a composed (auxiliary and past participle) perfect tense whose similarities to today’s passato prossimo are but morphological, and not functional. Along with some passive voices in the past tense which are also to be found in the fragment, these forms illustrate how auxiliary verbs were used in a still unconsolidated manner during the Cinquecento.

Key words: 16th century’s Tuscan, past simple tense, present perfect, auxiliary verbs, passive voice

 

  • Elżbieta BIARDZKA, Note sur le verbe du dire en discours direct. Cas de la presse écrite 19

Summary

NOTE ABOUT SAYING VERBS IN THE DIRECT SPEECH. THE WRITTEN PRESS EXAMPLE

This work discusses direct speech forms in French appearing in written press without an introduction by a saying verb. The author believes that this incompleteness of direct speech does not represent one, but several different cases. First, there are isolated quotations of direct speech preceded by a sentence which actually contains a verbum dicendi: from a semantic point of view, this sentence stands for a syntagma of introduction of a quotation and the syntactic incompleteness has therefore a typographic character. In other cases, lack of context with the preceding saying verb can be observed, or at least an equivalent form: thus, a quotation of direct speech can have a huge semantic and syntactic autonomy and the introducing syntagma can be considered redundant. In the language of written press, such forms of direct speech appear in the texts of articles, but are particularly common and diversified in newspapers paratexts like titles, subtitles and different kinds of mottoes, which can be observed in such newspapers as Le Monde. These incomplete forms of direct speech show how not only the presence, but also the absence of saying verbs in the direct speech can be significant and regular. The absence makes the message more attractive and arrests the reader’s attention by forcing them to reconstruct, as it were, incomplete structures when reading.

Key words: direct speech, saying verbs (verbum dicendi), language of written press

 

  • Pedro CAMPOS FERNÁNDEZ DE PIÉROLA, La referencia de las oraciones ecuativas 25

Summary

THE REFERENCE OF EQUATIVE SENTENCES

Equative sentences link two members representing the same thing. That is why it is impossible to discern the subject from an attribute. The problem may be solved by interpreting them according to the structure attribute-copula-attribute, in which the subject is implicit and not mentioned.

Key words: reference, sentence, attribute, subject

 

  • Monika GŁOWICKA, Valores y usos de algunos verbos de movimiento españoles y sus equivalentes polacos 35

Summary

SPANISH VERBS OF MOVEMENT AND THEIR POLISH EQUIVALENTS

The article constitutes a contribution to the discussion on the similarities and differences in the use of selected verbs of movement in Polish and Spanish. The selected instances of use of verbs ir, venir, llegar, which cause difficulties to the learners of Spanish, were analysed. By comparing Polish and Spanish examples, the most frequent errors resulting from incomplete understanding of the meaning of the verbs were analysed. The analysis was only concerned with the most frequent use of the verbs, ignoring their metaphorical or idiomatic use.

Key words: Spanish verbs of movement ir, venir, llegar, Polish equivalents, contrastive analysis, didactics, linguistic errors

 

  • Monika GRABOWSKA, Le participe présent dans la didactique du français langue étrangère 47

Summary

PARTICIPE PRÉSENT IN THE DIDACTICS OF FRENCH

The article is devoted to participe présent, one of the verb forms in French, which is analysed from the glottodidactic perspective. The adopted main premise is the fact that due to its opposition to the forms of gérondif and adjectif verbal, the form causes much controversy with the students and teachers of French as a foreign language. Contentious examples illustrating the opposition conclude the article’s first part, which analyses the essence of the opposition in view of selected French course books. Further, grammar books for non-native and native speakers of French are reviewed (points 2 and 3) and after noting the hybrid characteristics of participe présent, attempts were made to explain the cases of use of participe passé which Polish-speaking students of French find difficult to comprehend. The explanations were based on the linguistic work published in the 149/2003 issue of the periodical Langages (T. Arnavielle – Ed.) (Participe présent et gérondif).

Key words: participe présent, gérondif, grammar of French as a foreign language, didactics of French as a foreign language

 

  • Stefan KAUFMAN, Le verbe en langues de la spécialité : vers une description terminographique 67

Summary

THE VERB IN LANGUAGE FOR SPECIAL PURPOSES – ISSUES IN TERMINOLOGICAL DESCRIPTION

The widely-held view that the noun is a predominating part of speech in language for special purposes and in terminology results from theoretical assumptions of classic terminology (onomasiological character of terminological work, apparent independence of a term from the context), yet it is not confirmed by the reality. The verb occupies an important position in specialised texts and, similarly as the noun, may carry significant notional content. The article, based on the material representing various specialisations, discusses the cases when the same notion may be expressed by both a noun and a verb and analyses basic schemes of such a transformation and its connection with such issues as modes of use of a term in the context, interlinguistic equivalence, term’s definition and accuracy. To conclude, the author discusses the issue of the description of the discussed phenomena in terminological dictionaries.

Key words: language for special purposes, terminology, terminography, verb

 

  • Ewelina MARCZAK, Dire, hasarder les demi-mots, ouvrir la bouche... Quelques remarques sur les verbes de communication dans Armance de Stendhal 77

Summary

COMMUNICATION VERBS IN STENDHAL’S ARMANCE

This work is concerned with lexemes denoting communication behaviour. The author’s task was to research what verbs in a narrative may function similarly as the group of verbs which linguists call verba dicendi. The basic funcion of the latter is to introduce text into text, sequences of quoted words into quoting text. The research material was Stendhal’s first novel Armance. All the verbs used by the narrator to quote and present the character’s verbal behaviour were selected and an attempt was made to categorise them with a view of proving that not all of them are strictly speaking verba dicendi. Beside such lexemes, there are other verbs which refer to speaking or other types of communication behaviour in terms of contextual or metaphorical use. Therefore, the group of verbs which introduce the character’s speech in the narrative is referred to as verbs of communication.

Key words: verbs of communication, reporting verbs, narratised speech, transposed speech, reported speech, character’s words

 

  • Natalia PAPROCKA, Verbes de communication et autres introducteurs de citations du discours direct dans les articles de presse française et dans leurs traductions polonaises 91

Summary

VERBS OF COMMUNICATION AND OTHER ELEMENTS INTRODUCING QUOTATIONS IN DIRECT SPEECH IN ARTICLES IN FRENCH PRESS AND THEIR POLISH TRANSLATIONS

The author of the article aims at: (1) collecting verbs of communication and other elements introducing quotations in articles in French press, (2) collecting their Polish equivalents and (3) comparing both collections in terms of the author’s “involvement” in what is being quoted.

The corpus was formed by 300 examples of quotations including introducing elements from French press and their Polish translations published in Forum.

The list of introducing elements from French press resulting from the analysis is long, while the collection of their Polish equivalents is much diversified. The analysis of the degree of involvement reveals the tendency of Polish translators to use verbs (or other elements introducing quotations) which are more neutral than their equivalents from French texts.

Key words: quotation, verb of communication, element introducing quotation, involvement, translation of press articles

 

  • Maja PAWŁOWSKA, Comment on parlait de la nature dans la seconde moitié du XVIIe siècle : la correspondance de Mme de Sévigné 109

Summary

HOW THEY TALKED ABOUT NATURE IN THE 17th CENTURY: MME DE SÉVIGNÉ’S CORRESPONDENCE

Marchioness de Sévigné was one of very few people creating literary descriptions of nature in the second part of the 17th century. Lack of interest in the subject matter resulted from philosophical, aesthetic and sociological premises, connected with the doctrine of French Classicism. When undertaking the unconventional subject in her correspondence, Mme de Sévigné resorts to stylistic devices adapting it to the taste of the age. She personifies individual elements of nature, transforming it into a rational creature. Another device consists in presenting nature in accordance with the schemes of the topic of pastoral literature. Occasionally, original descriptions appear, which prove Mme de Sévigné’s exceptional sensitivity to the beauty of nature. However, the descriptions are awkward, which is substantiated by a limited number of verbs used in the descriptions.

Key words: Mme de Sévigné, French epistolary literature, nature

 

  • Elżbieta SKIBIŃSKA, On + voir dans la traduction polonaise de récits historiques : observations 119

Summary

ON + VOIR IN THE POLISH TRANSLATION OF HISTORIANS’ WORKS: REMARKS

The article analyses the use of the structure on + voir in the historians’ work and demonstrates that the uses are divided into two groups: in the first the verb voir is used in its primary meaning (visual perception); in the other it denotes intellectual perception. The latter use is characteristic for scientific text: on + voir may be considered as one of the rhetoric elements emphasising the “community” of the author and the recipient, which is also emphasised by the devices used in the translation. The following are characteristic for the former use: a. situations typical for descriptions, when on + voir serves the purpose of spatial location of objects, and b. the situations typical for narrative parts when on + voir introduces infinitive clauses relating events. In the Polish translation of literary and scientific historical texts practically the same means are used. It is interesting that the structure on + voir with the infinitive clause of the visual perception element disappears (observed in the translation of both types of texts), which requires further study.

Key words: French pronoun on, French verb voir, historical narrative, Polish translation

 

  • Eugeniusz UCHEREK, Les corrélations de... en... et d’un... à l’autre et leurs équivalents traductifs polonais dans les constructions avec les verbes de mouvement 133

Summary

CORRELATIONS DE... EN... AND D’UN... À L’AUTRE AND THEIR POLISH TRANSLATION EQUIVALENTS IN THE STRUCTURES WITH VERBS OF MOVEMENT

The article compares French correlations de... en... and d’un... à l’autre with each other and with their Polish translation equivalents in the structures with the verbs of movement. The analysis proves that the correlation de... en... is linked with the imperfective forms of the verbs of movement, thus implicating the relation of progress in the spatial set, whose elements post-pronoun nouns refer to. In the structure d’un... à l’autre the verb of movement may occur in the perfective or imperfective form. Following the verbs of movement in the perfective form, the correlation d’un... à l’autre excludes the progressive interpretation of movement, while following the verbs of movement in the imperfective form, it allows for two-fold interpretation: progressive movement or alternating movement between two elements. All Polish translation equivalents of both correlations de... en... and d’un... à l’autre behave similarly as the correlation d’un... à l’autre: they may link with verbs in imperfective and perfective forms. With the verbs in perfective form they exclude progressive interpretation of movement, with the verbs in imperfective form they allow for two-fold interpretation of movement: progressive or alternating, as is the case of structures with d’un... à l’autre. Consequently, Polish translation equivalents following the verbs of movement in imperfective form neutralise the opposition between de... en... and d’un... à l’autre. Contrary to the French correlations, some contexts require the use of equivalents allowing for two-dimensional or three-dimensional character of localisers.

Key words: French and Polish prepositions, translation

 

  • Dominique VERBEKEN, Présent et présentification : une question de point de vue 139

Summary

PRESENT AND PRESENTIFICATION

The aim of this article is to reconsider the effect of presentification which the présent has when it indicates a past “eventuality” in a narrative text and to demonstrate that this effect is richer than what is generally shown in the studies on this tense. Various functions of the effect of presentification – hypotypose – are distinguished by attaching them to the enunciative strategy, which implies that any narration is an act of “handling the reader or the listener”. Thus, three types of narrative present are defined: the présent narratif “traditional” (the eventuality seems occur “under the eyes” of the narrataire), the présent narratifdescriptif” (this type of présent gives the impression of a concomitance between the moment of the narration and the moment of the eventuality) and the présent narratifcommunicatif” (the présent connects the narrator to the narrataire at the same time).

Key words: verbal tense, present, presentification, narration

Romanica Wratislaviensia LV - "Traduire le drame"

Romanica Wratislaviensia LV - "Traduire le drame": 

Romanica Wratislaviensia LV

Traduire le drame

Rédacteur du volume – Justyna Łukaszewicz

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2008

(Acta Universitatis Wratislaviensis Nr 3062)

 

Table des matières

  • INTRODUCTION (Justyna Łukaszewicz) 7

  • Noémie COURTÈS, Plaute et Rotrou: la traduction des comédies au XVIIe siècle, entre respect et création 17

  • Maja PAWŁOWSKA, Moyens pour apprendre a traduire de latin en françois de Gaspard de Tende et les règles de la traduction scolaire des comédies de Térence 25

  • Dobrochna RATAJCZAKOWA, L’adaptation en tant que domaine de la comédie polonaise du XVIIIe siècle dans le recueil des drames de Wojciech Bogusławski 35

  • Justyna ŁUKASZEWICZ, Franciszek Kowalski, épigone de la polonisation à la mode dix-huitiémiste 57

  • José Luis Losada PALENZUELA, Schopenhauer y Calderón: interpretar el drama sin religión 69

  • Olga PŁASZCZEWSKA, La Figlia di Iorio nella versione di Maria Konopnicka 79

  • Jadwiga ŻYSZKOWSKA, La gastronomie dans des pièces choisies de Molière et dans leurs traductions par Tadeusz Boy-Żeleński 87

  • Davide ARTICO, William Shakespeare nelle traduzioni italiane di Goffredo Raponi 99

  • Maurizio MAZZINI, Stile colloquiale e turpiloquio fra intraducibilità e problemi di dosaggio sull’esempio di Novecento di Alessandro Baricco nella traduzione polacca di Halina Kralowa 117

  • Justyna WESOŁA, Onomatopeyas convencionales españolas en traducciones polacas de obras dramáticas 131

  • Constantin BOBAS, De la traduction pour le théâtre: paroles – silences – rencontres, variantes et formes d’expérimentations possibles du théâtre néo-hellénique en français 145

  • Ginette HERRY, De la spécificité du texte théâtral et de sa traduction 151

 

Streszczenia

  • Noémie COURTÈS, Plaute et Rotrou: la traduction des comédies au XVIIe siècle, entre respect et création 17

Summary

PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17th CENTURY. BETWEEN RESPECT AND CREATION

When translating ancient comic dramas, the playwrights of early 17th-century France adapt the texts to contemporary bienséances both poetical and social ones. Stemming from Captivi by Plautus, Les Captifs demonstrates the necessary “imitating” skills of Rotrou: from precise translation to free adaptation, the dramatist uses the whole range of possibilities at his disposal, up to eventually changing the ancient dispositio in order to produce a good modern comedy.

Key words: Plautus, Rotrou, imitation, comedy, Les Captifs

 

  • Maja PAWŁOWSKA, Moyens pour apprendre a traduire de latin en françois de Gaspard de Tende et les règles de la traduction scolaire des comédies de Térence 25

Summary

MOYENS POUR APPRENDRE A TRADUIRE DE LATIN EN FRANÇOIS BY GASPARD DE TENDE AND THE RULES OF SCHOLARLY TRANSLATION OF A COMEDY BY TÉRENCE

In 1660 appear the Regles de la traduction ou Moyens pour apprendre a traduire de latin en françois by Gaspard de Tende – a collection of rules of translation from Latin to French, intended for students as a schoolbook. In the book, on the basis of selected excerpts of Térence’s comedy’s translation the author proves that apart from the accurate rendering of the meaning of an original text, a translation should be marked by an elegant language that would meet the aesthetic requirements of French classicism and exchange the ancient language etiquette with the modern one. The French language becomes acknowledged as autonomic and efficiently shaped in order to be able to stop the exact copying of Latin stylistic and lexical structures in it. As a result, Latin works are to serve as the creative inspiration of contemporary writers.

Key words: Térence, Gaspard de Tende, translation

 

  • Dobrochna RATAJCZAKOWA, L’adaptation en tant que domaine de la comédie polonaise du XVIIIe siècle dans le recueil des drames de Wojciech Bogusławski 35

Summary

ADAPTATION – A DISTINCTIVE FEATURE OF THE 18th CENTURY POLISH COMEDY IN A COLLECTION OF DRAMAS BY WOJCIECH BOGUSŁAWSKI

The author analyses the phenomenon of adaptations of comedies, which has been developed in the Polish theatre of the Enlightenment period and lasted until the middle of the 19th century, or even later. Among the political and cultural circumstances of the phenomenon, considerable attention is drawn to the specific situation and role of the Polish national scene in the reign of Stanisław August and after Poland lost its independence, as well as Stanisław August’s influence. The idea has been highlighted of a repertoire and its provider working as a translator, an adaptor and an author. The participation of each of these writing roles in the creation of a particular work depended mostly on the genre. Comedy was particularly susceptible of adaptation due to the elements of everyday life consisted in it and, in consequence, the demand of its being up-to-date, combined with weaker literacy than it was in the case of tragedy and its close relations with the stage. For instance, Szkoła obmowy [The School for Scandal] adapted from Sheridan, the work selected from exceptional in the Polish dramaturgy collection Dzieła dramatyczne [Dramatic Works] by Wojciech Bogusławski, is an outstanding artistic achievement and a border point of the practice of adaptation. Reading it with a key, carried out after reading beyond contexts and context reading, extracts the political sense of art, hidden beneath the social comedy, and allows to see adaptation as an Aesop veil used in defence against censorship.

Key words: adaptation, comedy, Wojciech Bogusławski, Polish theatre

 

  • Justyna ŁUKASZEWICZ, Franciszek Kowalski, épigone de la polonisation à la mode dix-huitiémiste 57

Summary

FRANCISZEK KOWALSKI, AN EPIGONE OF A NATIONALIZED ADAPTATION

In his collection of Molière translations published in the middle of the 19th century Franciszek Kowalski used an adaptation method similar to that of the translators cooperating with theatre in the Enlightenment period. The comparison of his version of the farce Le Médecin malgré lui and the comedy Amphitryon with their adaptations by Franciszek Zabłocki (1782) reveals the differences (Kowalski translated both works in verse, making omissions more often and using amplifications more rarely) as well as the similarities between the two writers (in the Amphitryon they both used colloquial, expressive and vivid language, introduced significant names, proverbs, diminutives and more brutality to the work). In the case of Doctor Perforce, in the introduction Kowalski informs the reader of the pruning done for the sake of decorousness, however, there are more omissions in his translation. Some aspects of the farcicality of the works have been diminished in both translations. In the case of Amphitryon Zabłocki enters a more informal relation with the original and the theatre traditions, though the register and style of Kowalski’s language also diverge much from the original.

Key words: translation, adaptation, Molière, Franciszek Kowalski, Franciszek Zabłocki

 

  • José Luis Losada PALENZUELA, Schopenhauer y Calderón: interpretar el drama sin religión 69

Summary

SCHOPENHAUER READS CALDERÓN: TO INTERPRET DRAMA WITHOUT RELIGION

The point of view Arthur Schopenhauer introduces to the history of reception of Calderón’s dramaturgy in Germany is close to Goethe’s opinion. Writing about the tragedy, he cuts himself off from the Romantic writers ans states that in order to meet all demands of the genre, tragedy ought to be free from any motifs related to the Christian religion. He points out, however, that Calderón’s dramatic output regarding Christianity deserves to be highly appraised; the specific character of his aesthetical reflection leads to an unambiguous statement of the necessity of removing the Christian, or even Catholic elements from his dramas. In this regard his opinions coincide with the theatre practice of Goethe, who in order to adapt The Constant Prince for the performance he prepared, significantly changed its German translation by Schlegel, reducing the surfeit of Christian elements in it.

Key words: interpretation, religion, Schopenhauer, German Romanticism, Calderón, tragedy

 

  • Olga PŁASZCZEWSKA, La Figlia di Iorio nella versione di Maria Konopnicka 79

Summary

THE DAUGHTER OF JORIO: MARIA KONOPNICKA’S TRANSLATION

In consequence of the Polish public’s interest in the newest achievements of the European dramaturgy, The Daughter of Jorio by Gabriele D’Annunzio has been staged twice – in Cracow and Lvov, in 1905. Its translation by Konopnicka, perfectly functioning in the theatre, is an example of a successful translation which renders not only poetics and formal qualities of the original (internal stratification, metre, versification, elevated poetic language interwoven with dialect stylization), but above all the mythic sense of D’Annunzio’s work.

Key words: The Daughter of Jorio, Gabriele D’Annunzio, Maria Konopnicka, modernistic drama, theatre, stage play translation, translatology, comparative literature, history of theatre, Italian theatre in Poland

 

  • Jadwiga ŻYSZKOWSKA, La gastronomie dans des pièces choisies de Molière et dans leurs traductions par Tadeusz Boy-Żeleński 87

Summary

GASTRONOMY IN MOLIÈRE’S SELECTED WORKS AND THEIR TRANSLATIONS BY TADEUSZ BOY-ŻELEŃSKI

The study analyses the translations of expressions related to gastronomy found in three of Molière’s works. The author of the translations is Tadeusz Boy-Żeleński, often called the greatest Polish translator of French literature. The analysis reveals that on closer examination there are several translation errors that might have resulted from Żeleński’s unfamiliarity with the 17th century French cuisine and his fast pace of work. However, it should be pointed out that the errors do not diminish the humour in the analyzed works.

Key words: cultural aspects in translation, French cuisine, comedy, theatre

 

  • Davide ARTICO, William Shakespeare nelle traduzioni italiane di Goffredo Raponi 99

Summary

WILLIAM SHAKESPEARE IN ITALIAN TRANSLATIONS BY GOFFREDO RAPONI

The article analyses selected Italian translations of Shakespeare’s dramas. The translations by Goffredo Raponi are characterized by a certain degree of freedom in lexical choices, often determined only by the needs of versified translation. The use of 11- and 7-syllable lines in translating Shakespeare’s dactylic pentameters results in a pleasant rhythm for Italian readers, although it sometimes leads to inaccuracy in interpretation of the original. Nevertheless, the translator skilfully renders the numerous register changes in the original works. A number of translator’s notes, often in the form of commentaries of a historico-literary character, is also a common feature of Raponi’s translations.

Key words: William Shakespeare, drama translation, language registers, translator’s notes

 

  • Maurizio MAZZINI, Stile colloquiale e turpiloquio fra intraducibilità e problemi di dosaggio sull’esempio di Novecento di Alessandro Baricco nella traduzione polacca di Halina Kralowa 117

Summary

COLLOQUIALISMS AND VULGARITIES AS A TRANSLATION PROBLEM: HALINA KRALOWA’S TRANSLATION OF NOVECENTO BY ALESSANDRO BARICCO

The article deals with the problem of translations of colloquialisms and vulgarities in a literary work, on the example of Halina Kralowa’s translation of Novecento by Alessandro Baricco. The author points to the difficulties in the choice of equivalent words and expressions in terms of context they were placed in, the intensity of expressions and style, while taking into consideration also the cultural factors which determine the permissible limits of vulgarity in the target language, in respect to both spoken word and a literary work. Apart from that, the article presents several examples of the Italian colloquial style typical of the spoken language – based on the change of the word order in a sentence or the pleonastic use of pronominal particle ci – which prove that the style is not always posible to translate.

Key words: colloquialisms, vulgarism, Baricco, Novecento

 

  • Justyna WESOŁA, Onomatopeyas convencionales españolas en traducciones polacas de obras dramáticas 131

Summary

DICTIONARY ONOMATOPOEIA IN THE POLISH TRANSLATIONS OF THE SPAIN DRAMAS

In the basis of the corpus of thirty six Spanish dramas and their Polish translations, the article analyses the functioning of conventional onomatopoeia in the drama and the ways it was translated. Onomatopoeia is regarded as a category rarely used in a text, although rich in units. It may characterize the characters and constitute a genre determinant of the farce, grotesque or the curved mirror comedy. In general, the Spanish units are replaced with the conventional Polish equivalents. If there are no such equivalents, the translator repeats the original onomatopoeia or translates it as a noun which represents an individual sound. Rarely do the translators omit onomatopoeia; usually they diminish its graphical form – the only way of rendering its prosodic features (length, intonation) in writing.

Key words: onomatopoeia, translation, drama

 

  • Constantin BOBAS, De la traduction pour le théâtre: paroles – silences – rencontres, variantes et formes d’expérimentations possibles du théâtre néo-hellénique en français 145

Summary

WORDS – SILENCE – ENCOUNTERS, VARIANTS AND EXPERIMENTAL FORMS OF WORKS OVER THE TRANSLATION OF THE MODERN GREEK THEATRE INTO FRENCH LANGUAGE

The article deals with the question of theatrical translation, on the basis of three Greek texts translated into French in which different approaches were elaborated. The stress was put on the variety of approaches for the purpose of highlighting the numerous features of theatre translation and its form with continuous variation.

Key words: drama, theatre translation, theatre translation theory, modern Greek theatre

 

  • Ginette HERRY, De la spécificité du texte théâtral et de sa traduction 151

Summary

ON THE SPECIFICITY OF THE THEATRICAL TEXT AND ITS TRANSLATION

A loyal translation of a theatrical text requires me to acknowledge its distinctiveness and it is this distinctiveness which is the main determinant of my work. A theatrical text is intended to be staged; it must, therefore, be translated into the language of contemporary spectators who must understand everything during a performance. In addition, such a text is addressed mainly to the creators of the performance who transform stage directions into non-verbal messages (visual, aural, phatic) and the main body of the text into verbal messages which the actors-characters will exchange among themselves. That is why the translator should not identify himself or herself with the audience or the creators of the performance; using his or her own language and own culture, the translator must replace the author in the author’s language and culture.

Key words: theatrical writing, fidelity/loyalty/contract, transmission/transmutation, effect/the process of writing for theatre, intertext/supertext/subtext, external/internal dramaturgy, expressive/indicative, speech/utterance/enunciation, oral/written language, spoken/‘decoy’ speech, the social art/collective expectances horizon, theatre of play/theatre of text, Italian style

Romanica Wratislaviensia LVI - "Les mots pèlerins"

Romanica Wratislaviensia LVI - "Les mots pèlerins": 

Romanica Wratislaviensia LVI

Les mots pèlerins

Rédacteur du volume – Elżbieta Biardzka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2009

(Acta Universitatis Wratislaviensis Nr 3129)

 

Table des matières

 

  • Avant-propos (Elżbieta Biardzka) 7

  • Davide ARTICO, Il Sergente di Marco Paolini quale adattamento scenico del romanzo di Mario Rigoni Stern 9

  • Elżbieta BIARDZKA, Pour une définition discursive du discours rapporté 21

  • Anna BOCHNAKOWA, Titres en vadrouille 39

  • Jadwiga COOK, Le portrait du personnage par ses paroles: les héros du roman d’Anna Gavalda Ensemble, c’est tout en français et en polonais 51

  • Anna DUTKA-MAŃKOWSKA, La circulation du discours: le dit d’origine énonciative indéterminée en français et en polonais 63

  • Krystyna GABRYJELSKA, Le bruissement des voix dans une bataille littéraire. Pour et contre dans l’évolution du genre romanesque au XVIIIe siècle 75

  • Joanna JAKUBOWSKA-CICHOŃ, Du cri au silence: les voix des personnages dans Un Barrage contre le Pacifique et L’Amant de Marguerite Duras 85

  • Ronald JENN, Le pèlerinage des mots d’enfants dans The Adventures of Tom Sawyer de Mark Twain et ses traductions françaises. Le cas du discours indirect mimétique 99

  • Greta KOMUR, Les formes bivocales dans la presse écrite: mécanismes d’identification pour le genre journalistique 113

  • Lidia LEBAS-FRĄCZAK, La notion de polyphonie et le subjonctif 129

  • Ewelina MARCZAK, Les langues étrangères dans les romans de Stendhal 141

  • Maja PAWŁOWSKA, Les topoï antiques et le roman épistolaire français des XVII-XVIIIe siècles 161

  • Françoise SULLET-NYLANDER, Du devenir des mots mensongers dans la presse quotidienne: Le cas de « L’affaire du RER D » 173

  • Ullà TUOMARLÀ, Scénographie énonciative et parenthèses. L’exemple de L’Homme-soeur de Patrick Lapeyre (2004) 187

  • Bibliographie 199

 

Streszczenia

 

  • Davide ARTICO, Il Sergente di Marco Paolini quale adattamento scenico del romanzo di Mario Rigoni Stern 9 – 20

 

Summary

 

IL SERGENTE BY MARCO PAOLINI AS A THEATRE ADAPTATION OF A NOVEL BY MARIO RIGONI STERN

This paper is an analysis of a monodrama by Paolini, Il Sergente, which is an adaptation of a novel by Mario Rigoni Stern published in 1953. Comparing a fragment of the novel with a fragment of the monodrama text, and on the basis of other source materials (for example the film about Paolini’s interview with Rigoni Stern), we can prove that the adaptation was a synthesis of the author of the novel’s original message. This synthesis is partly characterised by detaching the main character’s personal experience from the historical context of World War II, in this case the Italian Fascist attack on the Soviet Union. In this way Paolini transformed entire paragraphs of the novel into „winged words” carrying a global moral message against the war and against the use of violence as a solution to conflicts.

Key words: Marco Paolini, Mario Rigoni Stern, monodrama, adaptation

 

  • Elżbieta BIARDZKA, Pour une définition discursive du discours rapporté 21 - 38

 

Summary

 

TOWARDS A DISCURSIVE DEFINITION OF REPORTED SPEECH

This paper proposes and deals with an empirical „discursive” definition of reported speech (DR) assuming that DR is an actual piece of text which tells, describes or just quotes someone else’s words. DR relies on a designatum which is a speech act we call enounced event (EE1). It is real or fictive ans differs from the speech act EE2 which belongs to a sequence of reported speech reporting only a certain image of EE1. This image can be described as a „text” or „think” image and is never complete, being only a selection of contents from EE1. We could then say that enounced events are subject to a certain specific kind of telling, a tale of speech, which can be distinguished from the telling of other events, because apart from the segments presenting someone else’s speech, it also puts forward a personal comment by the quoter. This comment is like didascalia in a play: it allows to identify the quoted person and other circumstances of the enounced act. DR has then a binary structure as it contains two elements: Didascalia (Did) and Quotation (Cit). We write these abbreviations with capital letters because we consider these terms in a generic meaning. Didascalia can refer to many different grammatical and „text” forms, and Quotations to many different ways of giving account of other people’s words („textual” or „transformed” quotations, but also „mixed” ones). DR can be figured then as an equation: DRC = Did + Cit and the text segments it combines give a large number of speech use variants.

Key words: reported speech, free indirect speech, media-related speech

 

  • Anna BOCHNAKOWA, Titres en vadrouille 39 - 50

 

Summary

 

WANDERING HEADLINES

This paper presents about 30 Polish press headlines and text fragments (from Autumn 2007) whose form is related to well-known literary quotations or popular sayings. The gathered examples are an interesting testimony of the cultural references to which the journalists resort when giving headlines to their texts. Their interpretation by the readers, who may or may not be conscious of the secondary use of the phrases, can be considered, on the one hand, as an effect of the author’s stylistic operations and, on the other hand, as a manifestation of knowledge and permanence of the literary and common culture.

Key words: intertextuality, headline, cultural references

 

  • Jadwiga COOK, Le portrait du personnage par ses paroles: les héros du roman d’Anna Gavalda Ensemble, c’est tout en français et en polonais 51 - 62

 

Summary

 

SPEECH PORTRAIT OF THE CHARACTERS: THE CHARACTERS OF ANNA GAVALDA’S ENSEMBLE, C’EST TOUT IN FRENCH AND POLISH

One of the main roles of a literary dialogue is to give some information about the characters and the reader of a translated text should also get the same information from their speech. This is why the style of the character’s speech is extremely important in literary translation. This paper tries to answer the questions how the portraits of the main characters from the novel Ensemble, c’est tout by Anna Gavalda were created in the dialogues, and if the readers of the Polish translation get a similar picture. The analysis shows that the characters are very different, which is also visible in the language they use. Even though certain elements, such as colloquial syntax, are not present in the Polish version, the translated text is very natural and shows precisely the differences between the three young people.

Key words: characters’ speech, novel dialogue, colloquial French in translation

 

  • Anna DUTKA-MAŃKOWSKA, La circulation du discours: le dit d’origine énonciative indéterminée en français et en polonais 63 - 73

 

Summary

 

CIRCULATION OF THE SPEECH: SPEECH OF UNSPECIFIED ENUNCIATION IN FRENCH AND IN POLISH

The article deals with different approaches towards the description of utterances of undefined origin (rumours, gossips, anonymous accounts, etc.). Depending on theoretical assumptions, these utterances either may be classified as the examples of specific accounting speech or they stay unclassified. On the basis of L. Rosier’s conception of „discourse circulation” (circulation du discours), the phenomenon of anonymous, unkind or untrue remarks pronounced behind one’s back was analysed: the social use of potin (gossip) vs. the one of plotka in both French and Polish were compared, in particular their linguistic aspects and specific stocks of phrases (lexical, phraseological and others) were examined. Though many similarities were observed, some cultural differences were also registered. This point of view was described not only in relation to other theories proposed in linguistics in France (J. Authier-Revuz, Z. Guentcheva) but also against discourse analysis (S. Moirand).

Key words: discourse circulation, réénonciation, potin/plotka (gossip), speech of undetermined assertive origin

 

  • Krystyna GABRYJELSKA, Le bruissement des voix dans une bataille littéraire. Pour et contre dans l’évolution du genre romanesque au XVIIIe siècle 75 - 84

 

Summary

 

RUMOUR OF VOICES IN A LITERARY DISPUTE. THE PROS AND CONS IN THE EVOLUTION OF THE NOVEL GENRE IN THE 18th CENTURY

The position of the novel as a genre was not easy in the 18th century. Yet in the 17th century, but mostly in the 18th, new genres appeared and – what is more important – changes could have been observed in the approach to the existing ones.

Modern novel emerged at the time when the official, compulsory doctrine was classicism, but when social, cultural and literary realities created by this doctrine changed so much that they demanded a new debate, a revision of the positions, a renewing of already defined and commonly accepted patterns. Criticism of the new novel was developed mainly in two directions: in the field of morality where the novel was believed to harm when presenting love (an indecent model to imitate), and in the field of aesthetics, where it was constantly suspected to be harmful as an unrecognised genre, deprived of rules, based on fiction, lacking of likeliness. Novelists were accused of spreading low-valued tastes and corrupting the readers’ tastes. Critics despised their works arguing that they were not true litterature. Critics as well as novelists were divided into two camps: the orthodox, conservative, who were unfavourable to the development of the genre, and its defenders who were able to find arguments and strategies to respond to criticism. Novel was generally ill-famed, but, at the same time, it was supported by a large crowd of faithful readers who gave it strength.

As a result of the attacks on the genre, the novelists faced a dilemma: they could either agree with the positive argument of the morality lesson and present only an idealised picture of human nature, which was not true, or they could present human nature like it actually was and be accused of showing bad, corrupting examples.

In the dispute between novel opponents and defenders, the role of the critics should be emphasised, because they were actually the ones who reoriented the development of the novel in a new direction due to their strong position in the field of literature. Thank to their badly disposed attitude towards the genre, they turned off the novelists, by opposing literary tradition, they developed the genre giving it a new freshness that would revolutionise the litterature of Enlightenment.

Key words: novel genre, criticism, morality, aesthetics, dispute, strategy

 

  • Joanna JAKUBOWSKA-CICHOŃ, Du cri au silence: les voix des personnages dans Un Barrage contre le Pacifique et L’Amant de Marguerite Duras 85 - 97

 

Summary

 

FROM SCREAM TO SILENCE: CHARACTERS’ VOICES IN UN BARRAGE CONTRE LE PACIFIQUE AND L’AMANT BY MARGUERITE DURAS

Un Barrage contre le Pacifique and L’Amant by Marguerite Duras are novels based on the same fictional scheme, but which differ in their narration mode. Comparing the two books, it is possible to find a series of thematic references whose functions differ in each novel. In order to give a closer description of the nature of these differences, we decided to analyse how the narrator presents communication events, especially the ones linked with vocal means referring to speech (we call „paraverbal didascalia” the segments describing the prosodic features of the characters’ speech). In this perspective, thematic similarities between the two novels appear in the contrast in speech categories (within this group there are also sensible contrasts between screams and murmurs) and speech pauses. This kind of primitive semantic contrast can nevertheless fulfil several functions in the narration. In Un Barrage contre le Pacifique, paraverbal didascalia should be considered above all as a structural means building the world presented in the novel. In L’Amant, they also have a secondary function which is to prove the relation between the two novels, but mainly to give directions on the proper way to interpret the novel’s theme.

Key words: scream, language behaviour, paraverbal narrative directions, reported speech, silence, whisper

 

  • Ronald JENN, Le pèlerinage des mots d’enfants dans The Adventures of Tom Sawyer de Mark Twain et ses traductions françaises. Le cas du discours indirect mimétique 99 - 111

 

Summary

 

PILGRIMAGE OF CHILDREN WORDS IN THE ADVENTURES OF TOM SAWYER BY MARK TWAIN AND ITS FRENCH TRANSLATIONS. THE CASE OF MIMETIC INDIRECT DISCOURSE

This article studies the Mimetic Indirect Discourse in Mark Twain’s novel The Adventures of Tom Sawyer (1876) and its French translations (1884-1963). In the original, words belonging to the language of children go on an initial pilgrimage as they encroach upon the Narrator’s Discourse (which, as a rule, reflects an adult point of view). The pilgrimage is made twofold as these words or phrases make it into another language through the translation process. This essay is an attempt at answering two overlapping questions: What effect does the Mimetic Indirect Discourse achieve? In what way(s) was it handled by translators? The reader shall first be reminded of the characteristics of Mimetic Indirect Discourse in connection to other discourses. A study between English and French in the tradition of Compared Stylistics then follows. The article finally focuses on the effect of Mimetic Indirect Discourse within the economy of the novel.

Key words: translation, Mimetic Indirect Discourse, sociolect, The Adventures of Tom Sawyer, Mark Twain

 

  • Greta KOMUR, Les formes bivocales dans la presse écrite: mécanismes d’identification pour le genre journalistique 113 - 128

 

Summary

 

BIVOCAL FORMS IN THE FRENCH PRESS: MECHANISMS OF IDENTIFICATION

In this article we wanted first to introduce the free indirect speech, called also bivocal speech, proposed by some linguists, by drawing attention to the definitions of J. Authier-Revuz and C. Vetters. We then observe the use of these forms of speech in newspapers. Finally, we present some mechanisms of identification of the bivocal speech in this fascinating and sometimes surprising journalistic writing.

Key words: reported speech, free indirect speech, bivocality, media-related speech, journalistic language

 

  • Lidia LEBAS-FRĄCZAK, La notion de polyphonie et le subjonctif 129 - 140

 

Summary

 

THE NOTION OF POLYPHONY AND THE SUBJUNCTIVE

The notion of linguistic polyphony has become an important tool of linguistic analysis in the last years. One of its theoretical problems is to define polyphony in relation to kin notions, especially dialogism. Another problem is the source of polyphony which we can find either in constant language forms (en langue) or only in actual given uses (en discours) taking the role of the context into account. In this paper, we deal with these issues through a concrete example in French, the subjunctive form. The conclusion we draw from this analysis conforms with the constructivist approach according to which linguistic forms do not have a constant meaning by themselves but only a „potential” to build a meaning through their participation into interactions with other linguistic forms and communication factors.

Key words: polyphony, dialogics, subjunctive

 

  • Ewelina MARCZAK, Les langues étrangères dans les romans de Stendhal 141 - 160

 

Summary

 

FOREIGN LANGUAGES IN STENDHAL’S NOVELS

This paper treats of the foreign language sequences appearing in the narrator’s speech as well as the characters’ speech in the novels Armance, La Chartreuse de Parme, Lamiel, Lucien Leuwen and Le Rouge et Le Noir by Stendhal. We tried to classify the differents forms of foreign language occurrences and to analyse how foreign phrases can work in the novel texts. We therefore noted which foreign languages appear in Stendhal’s novels, in which context, and when they are translated. We tried to answer these questions: which phrases are translated, who translates, for whom the translation is made (for the reader or for another novel character), and what is the use of these foreign language sequences and their translation. It appears that the narrator can be an intermediary not only between languages but between cultures.

Key words: foreign language sequences in a novel, imported speech, narrative didascalia, narrator’s comment, translation didascalia, character’s words, translation

 

  • Maja PAWŁOWSKA, Les topoï antiques et le roman épistolaire français des XVII-XVIIIe siècles 161 - 171

 

Summary

 

ANTIQUE TOPOI AND THE FRENCH EPISTOLARY NOVEL IN THE 17th AND 18th CENTURIES

Topos is a term lying on the boundary between rhetoric, dialectics and poetry. Since Antiquity, there have been different definitions of this term. For the sophists, topoi were conventionalised rhetoric tricks. For Artistotle, they were logical schemes useful in the art of argumentation. Ancient topoi also existed in poetry as narrative scheme and motives characteristic for a given genre. Ancient Greek romance was a genre of expressive topoi. In the modern times, the 17th and 18th century French epistolary novel adopted most of its topoi. The conviction about the originality of epistolary novel in those times was based on the belief that literary topos as a recurrent motive is situated at a non verbal level of speech, and that the forms it takes in a language can adopt different stylistic features. Each literary work of the French classicism uses the topoi of its predecessors and becomes itself a potential source of topoi for the next generations of authors.

Key words: Topos theory, French 17th and 18th century epistolary novel, Guilleragues, Crébillon fils, Mme de Graffigny

 

  • Françoise SULLET-NYLANDER, Du devenir des mots mensongers dans la presse quotidienne: Le cas de « L’affaire du RER D » 173 - 186

 

Summary

 

THE DESTINY OF A LIER’S WORDS IN THE DAILY NEWSPAPERS: THE CASE OF « RER D AFFAIR »

The present study is based on a French press release of the AFP („Agence France Presse”) and articles published between the 11th and 13th of July 2004 in French-speaking daily newspapers (La Croix, Le Figaro, Le Monde, Le Parisien and Libération) covering a news item summarised as follow by Libération, Monday, July 12th: „As passengers passively watched, a twenty-three-year-old woman and her baby were assaulted in a train (RER D) in north Paris. The attackers, six suburbanites, thought the young woman was Jewish.” Two days later, the media reported that there had been no assault. The young woman, Marie L., fabricated the entire story (Le Figaro, Wednesday, July 14th).

The author analyses different ways of conveying the news item first in the headlines and then in the body of the newspapers articles. The focus lies on the propagation and transformation of the instigator’s and her pseudo-attackers’ words. The use of reported speech (direct and indirect) is compared to the use of „press conditional” or „epistemic conditional” to explore the degree of confidence with which journalists convey the news item.

Key words: reported speech, enunciative heterogeneity, journalistic conditional mode, false information

 

  • Ullà TUOMARLÀ, Scénographie énonciative et parenthèses. L’exemple de L’Homme-soeur de Patrick Lapeyre (2004) 187 - 197

 

Summary

 

ENUNCIATIVE SCENOGRAPHY AND PARENTHESES. THE EXAMPLE OF L’HOMME-SOEUR BY PATRICK LAPEYRE (2004)

In this paper, I try to analyse enunciative heterogeneity which is created by the contact between parenthetic enunciation and frame enunciation (énoncé-cadre), and especially the role of parentheses in the enunciative scenography of a contemporary novel. Do the parentheses allow to separate the character’s sphere from the narrator’s sphere in the analysed novel? Our analysis assumes that parenthesis is a sensitive item rich in potential for dialogism between the narratologic actors who are the character and the narrator. From a theoretical point of view, these questions first refer to language heterogeneity phenomena which Mikhail Bakhtine first underlined, but which also are in the centre of analyses by Oswald Ducrot on the uniqueness of the speaking subject, Jacqueline Authier-Revuz on the autonymic connotation, and recently Alain Rabatel (among others) on the conception of the point of view from enunciative analyses. Concerning L’Homme-soeur, I believe that this novel contains many scenes where the linguistic reference is to be found not in the external focalising narrator’s perception, but in the main character’s, Cooper, and that parentheses play in this scenography an interesting role from the point of view of focalisation. Little by little, the reader discovers that narration mixes the points of view of both the narrator and the severely depressed main character. Playing with these focalisations in which parentheses are largely used, the author is able to achieve through his writing an image of the fragile mental health of his character Cooper. In this way the narrated and the narration are entangled. Sometimes the parenthesis does not allow to decide whether the enunciation should be attributed to the narrator or the character, and then it rather looks like a meeting spot than a concrete frontier. But at least, in a fiction text analysis, it enables us to combine conveniently linguistic analyses and narratologic analyses to come to a richer conception of the parenthesis as an enunciative activity.

Key words: parenthesis, point of view, focalisation, emphatic narration

Romanica Wratislaviensia LVII - "Les choses, les notions, les noms : le terme dans tous ses états"

Romanica Wratislaviensia LVII - "Les choses, les notions, les noms : le terme dans tous ses états": 

Romanica Wratislaviensia LVII

Les choses, les notions, les noms : le terme dans tous ses états

Rédacteur du volume – Stefan Kaufman

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2010

(Acta Universitatis Wratislaviensis Nr 3228)

 

Table des matières

 

  • Introduction (Stefan Kaufman) 7

  • Katarzyna BIERNACKA-LICZNAR, Le trappole tese al traduttore polacco durante la traduzione di testi giuridici italiani e polacchi 13

  • Marc VAN CAMPENHOUDT, Le terme: condensation syntaxique et condensation des connaissances en langue spécialisée 29

  • Kaja GOSTKOWSKA, Le transfert des termes entre les disciplines scientifiques: sur l’exemple du génie biomédical 47

  • Natalia PAPROCKA, La littérature pour jeunes lecteurs: problèmes terminologiques liés au nom du domaine en polonais et en français 59

  • Maja PAWŁOWSKA, Histoire, fable, fiction: les désignations du roman au XVIIe siècle dans l’oeuvre de Jean-Pierre Camus 83

  • Katarzyna PLUTA, Le terme scientifique et le discours de vulgarisation 93

  • Regina SOLOVÁ, Traduire les termes du domaine de l’éducation. Sur l’exemple du diplôme de baccalauréat 107

  • Witold UCHEREK, Les marques d’usage dans les dictionnaires bilingues français-polonais et polonais-français 119

 

Streszczenia

 

  • Katarzyna BIERNACKA-LICZNAR, Le trappole tese al traduttore polacco durante la traduzione di testi giuridici italiani e polacchi 13 - 27

 

Summary

 

PITFALLS AWAITING POLISH TRANSLATORS OF ITALIAN AND POLISH LEGAL TEXTS

According to the 1948 definition by the criminal law professor Bronisław Wróblewski, the language of law is the language of acts of law, while the legal language is the language of court documents, legal commentaries ans academic theses. Although there are numerous publications devoted to specialist terminology for the most popular languages, the sources for the Italian language are scarce, which makes it difficult to learn and apply the correct terms. In the article the author points to the pitfalls awaiting Polish translators of Italian law and legal texts, and proposes her own translations of selected Italian criminal law terms.

In addition, she refers to the works of Gianrico Carofiglio, Italian writer and prosecutor, who has written a criminal trilogy featuring the defence counsel Guerrieri. Carofiglio’s crime novels, published in Poland between 2008 and 2010 by WAB, enable the readers to become familiar with the rich modern terminology of law and legal documents; in addition, the Polish translations can be an excellent tool for the future and current Italian language translators who explore the complexities of the legal language.

Key words: legal language, criminal proceedings, accused, Carofiglio

 

  • Marc VAN CAMPENHOUDT, Le terme: condensation syntaxique et condensation des connaissances en langue spécialisée 29 - 46

 

Summary

 

THE TERM: SYNTACTIC CONDENSATION AND KNOWLEDGE CONDENSATION IN SPECIALISED LANGUAGE

Kocourek observes that the concern for conciseness „constitutes a strong factor in the building of technoscientific sentences.” The purpose does not seem to produce short sentences but to add semantic charge to sentences without unnecessarily making them longer. He speaks of „syntactic condensation” leading to a „concise complexity” of the sentences. In our didactic practice at the Higher Institute of Translators and Interpreters (ISTI), we use a reference corpus of different specialised texts. The analysis of this corpus does not confirm that the tendency to condensation implies the creation of specialised terminologies according to morphological models which make it possible to better synthesise complex knwoledge, to show up hyponymic relations, and to make coreference easier.

Key words: term, syntactic condensation, syntagm, cognition

 

  • Kaja GOSTKOWSKA, Le transfert des termes entre les disciplines scientifiques: sur l’exemple du génie biomédical 47 - 58

 

Summary

 

TRANSFER OF TERMS AMONG CONTEMPORARY SCIENTIFIC DISCIPLINES – AS SEEN IN BIOMEDICAL ENGINEERING

One of the basic features of each scientific discipline is its openness to dialogue and to exchange of research results, observations and views. As a result, each discipline can develop and its field of research gradually expands. What is more, various disciplines can enter into dialogue with one another, which leads to a constant flow of terms. Very often a term coined in one discipline is borrowed by another. This happens mainly when interdisciplinarity comes into play. Although a lot has been written about the topic, from the point of view of both philosophy and language, certain issues are yet to be explained. In the article the author aims at examining terms borrowed by biomechanics, an interdisciplinary field, from various original disciplines such as physics, medicine and computer science. On the basis of her analysis of specialist texts and a corpus of Polish and French terms, the author presents the linguistic determinants of the points of view assumed by researchers. This part is devoted solely to terms borrowed from anatomy, because they are the best illustration of the change in the point of view we can observe within an interdisciplinary field.

Key words: biomechanics, terms, borrowings, point of view

 

  • Natalia PAPROCKA, La littérature pour jeunes lecteurs: problèmes terminologiques liés au nom du domaine en polonais et en français 59 - 81

 

Summary

 

„LITERATURE FOR YOUNG READERS”: A TERMINOLOGICAL PROBLEM WITH THE NAME OF THIS TYPE OF LITERATURE IN POLISH AND FRENCH

Literature for children and young people interests many scholars, who use various terms to describe it. The aim of the article is: (1) to collect the terms that are used in Polish and French to describe this type of literature and (2) to examine why there are so many synonyms, or at least words that seem to by synonymous, to name a single notion.

From the formal point of view, these terms can be divided according to two criteria: (1) structure of its object and (2) number of words to describe the age category in the object.

When it comes to the reasons behind the existence of such a complex terminology, we could distinguish the following: (1) different ways of understanding the definition of age categories, (2) different scopes attributed to the terms by various scholars, (3) the ambiguity of some of the terms, (4) subordination to a broader linguistic phenomenon or, finally, (5) a desire to avoid negative conotations associated with some terms.

Key words: generic terms, children’s literature, Polish and French terminology

 

  • Maja PAWŁOWSKA, Histoire, fable, fiction: les désignations du roman au XVIIe siècle dans l’oeuvre de Jean-Pierre Camus 83 - 91

 

Summary

 

HISTOIRE, FABLE, FICTION: DESCRIPTIONS OF THE NOVEL IN A 17th CENTURY WORK BY JEAN-PIERRE CAMUS

In the 17th century the novel was a new genre becoming as popular among the readers as it was criticised by the moralists. Aestetic accusations concerned the absence of romance in ancient poetics and, consequently, a lack of rules for the genre. The romance was also accused of demoralising young people by perverting their judgement of reality by means of deceitful fiction. Bishop Jean-Pierre Camus wrote the so-called pious romances that were to counterbalance the dangerous romances. All his novels include an in-depth author’s commentary in which the author recommends his romances to his readers as books that can contribue to the salvation of their souls, and at the same time deprecates novels by other authors. Such an attitude influences the terminology used by the author. The word roman is given a pejorative meaning and is used with reference to those novels that do not respect the principle of probability. He defines his own works, using the terms narré or histoire in order to stress the veracity of the facts presented in them. Other tool used by Camus is the presentation of his own novels as a type of epic or as works generically syncretic, containing elements of the epic poem, tragicomedy and non-literary exegetic elements. The terminological and generic negation of the fact that pious romances belong to the novel genre is to ennoble them.

Key words: French theory and criticism, Jean-Pierre Camus, 17th century French novel

 

  • Katarzyna PLUTA, Le terme scientifique et le discours de vulgarisation 93 - 106

 

Summary

 

SCIENTIFIC TERMS AND POPULAR SCIENCE DISCOURSE

The author of the article examines the ways to define specialist terms in popular science discourse. The article is based on the analysis of texts dealing with nuclear energy. In the first part of the article the author presents those discursive features that influence the definition process and then discusses the mechanism of explaining scientific terms by means of commonly known vocabulary. The last part contains a comparison between the descriptions of meaning in popular science discourse, and terminographic and lexicographic definitions.

Key words: popular science discourse, terminographic definition, lexicographic definition

 

  • Regina SOLOVÁ, Traduire les termes du domaine de l’éducation. Sur l’exemple du diplôme de baccalauréat 107 - 118

 

Summary

 

TRANSLATION OF EDUCATION-RELATED TERMS. AS SEEN IN TRANSLATIONS OF CERTIFICATES OF SECONDARY EDUCATION

The aim of the article is to analyse translations into French of selected terms from certificates of secondary education. Terms such as academic degrees, names of certificates, schools or positions held by school staff are closely connected to the education system in a given country. The incompatibility of the Polish and French education systems causes some terminological problems translators try to overcome, looking for solutions in various sources. As a result, one Polish term may have a number of French equivalents. It seems useful to create a model translation of the Polish document, though this will not solve all (untypical) problems related to terminology and translation, problems translators may encounter in their work.

Key words: terms, translation, certificate of secondary education

 

  • Witold UCHEREK, Les marques d’usage dans les dictionnaires bilingues français-polonais et polonais-français 119 - 134

 

Summary

 

LABELS IN BILINGUAL FRENCH-POLISH AND POLISH-FRENCH DICTIONARIES

The article is an analysis of labels used in eighteen general Polish-French and French-Polish dictionaries that have been published over the last forty years. The author wants to find out whether the analysed dictionaries have the same labels and whether the labels are defined, which would make it possible to regard them as terms. The inventory of labels, compiled on the basis of information contained in the introductions to the dictionaries and on the basis of lists of abbreviations, is divided into seven thematic groups. The author focuses in particular on the chronological, geographical, stylistic and expressive labels. Within each of these groups the Polish labels are confronted with the Polish lexicographic practice and the French labels – with the French practice. Finally both lists – Polish and French – are compared in terms of equivalence.

The analysis shows that the bilingual disctionaries examined by the author usually do not explain the rules of labelling words and do not define precisely the meanings of labels used, though some of the modern monolingual dictionaries could be regarded as positive examples in this respect. In addition, authors of bilingual dictionnaries seem to be limited in their use of the latest methodological proposals presented in the extensive literature on the subject. Consequently, the inventory of Polish terms used as labels in bilingual dictionaries only partially corresponds to the list of labels used nowadays in Polish language dictionaries.

Key words: label, Polish-French dictionary, French-Polish dictionary, bilingual lexicography

Romanica Wratislaviensia LVIII - Romanica Wratislaviensia LVIII

Romanica Wratislaviensia LVIII - Romanica Wratislaviensia LVIII: 

Romanica Wratislaviensia LVIII

Exclusion/Inclusion au féminin

Volume dédié à Madame Krystyna Gabryjelska à l’occasion de ses 70 ans

Rédacteur du volume – Maja Pawłowska

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2011

(Acta Universitatis Wratislaviensis Nr 3282)

 

Spis treści i streszczenia artykułów 

Avant-propos (Maja PAWŁOWSKA), 9

Beata BACZYŃSKA, En torno a la actualidad política en el auto sacramental calderoniano: la reina Cristina de Suecia lee a San Agustín en La protestación de la fe de Pedro Calderón de la Barca, 13 - 23

Summary:

ON THE PRESENCE OF CURRENT POLITICS IN THE CALDERONIAN AUTO SACRAMENTAL: CHRISTINA, QUEEN OF SWEDEN, READS SAINT AUGUSTINE IN LA PROTESTACIÓN DE LA FE BY PEDRO CALDERÓN DE LA BARCA

In 1656, a few days before the feast of Corpus Christi, Philip IV ordered the cancellation of a performance of Calderón’s auto sacramental La protestación de la fe, which referred to the conversion of Christina, Queen of Sweden to Catholicism. Spanish diplomats played a key role in the events that the whole Europe followed with great attention: from the abdication of Christina, Queen of Sweden in 1654, to her ceremonial entry into Rome towards the end of 1655. It was expected that the Queen would visit Spain and be a mediator in the matters concerning the war with France which had been going on for over twenty years. All this was meticulously reported by, among others, Jerónimo de Barrionuevo, the author of Avisos (Reports) from the years 1654-1658. However, after arriving in Rome, Christina turned away from the Spanish diplomats and openly started showing her interest in France. Detailed reports on the situation in Rome started arriving in Madrid in May, and this should explain the intervention of the king, who ordered the “auto about the Queen of Sweden” to be cancelled (Barrionuevo, II, p. 423). The text of the play survived and its premiere took place almost one hundred years later, in 1752. It is a unique composition in which current events, known from oral and printed accounts, have undergone allegoric transformation. It is difficult to rule out the court’s mediation in the choice of the auto subject and it seems that Calderón assumed that the protagonists, including Queen Christina herself, would be present at the premiere, which gives the entire composition a Baroque dimension of multiplied mirror, very characteristic of the playwright’s late work. Reality mingles with stage fiction. Calderón used the iconographic canons popular at that time, which can be seen especially in the scene where Queen Christina is introduced: this dramatized portrait of the Queen of Sweden shows her focused, reading the writings of St. Augustine.

Key words: baroque drama, Calderón, auto sacramental, La protestación de la fe, Christina of Sweden

 

Elżbieta BIARDZKA, Remarques sur les portraits de femmes esquissés par les journalistes du Monde ou Vénus au miroir révisitée, 25 - 32

Summary:

SOME REMARKS ON THE PORTRAITS OF WOMEN IN THE FRENCH DAILY LE MONDE OR VENUS IN FRONT OF THE MIRROR REVISITED

The article discusses the portraits of women-authors of quoted statements drawn by journalists of the French daily Le Monde. These portraits can be divided into two groups. While in the first group, the appearance of the authors of statements quoted in the paper is not in any way described, in the second one, the journalist describes some selected elements of the women’s looks. The group of authors without descriptions of their appearance consists of notorious, well-known and anonymous speakers. In the group of portrayed authors of statements the reporter describes not only some carefully selected details of their appearance, but also their vocal behavior and proxemics. Described and classified in this manner, the quoted speakers occupy their rightful place in the newspaper communication hierarchy. Some of them gain great recognition and authority, for others the journalist reserves a more modest place in Le Monde. Through the description of their appearance, the reporter may reaffirm their prestige and authority or, on the contrary, make them seem a bit ridiculous, without any influence on the fate of the world.

Key words: author of the statement (speaker), quotes, press reporter, speaker’s portraits, quoted speaker, reported speech, prosopography, reporter’s comment, character’s words, voice portrait

 

Carmen DEPASQUALE, La femme dans une «littérature française de Malte» du XVIIIe siècle, 33 - 42

Summary:

DEPICTION OF THE FEMALE IN A “FRENCH LITERATURE OF MALTA” OF THE EIGHTEENTH CENTURY

Between 1530 and 1798 Malta was ruled by a chivalric, monastic, hospitaller and military order which became known as the Order of Malta. The archives of the National Library of Malta preserve “an eighteenth century French literature of Malta” dealing with the religious duties of the Knights, the defence of the island against the Ottoman power, corsairing and projects and treatises written with the aim of improving the economic and political situation of the Order – these are subjects wherein women have no place. However, rare references to women are found in letters, diaries or memoirs that throw some light on Maltese society. Travel literature also accords some space to women. An interesting comedy in manuscript form, situated in eighteenth century Malta and written by a French knight, pokes fun at the femme fatale and portrays the Knight of Malta as both prey and victim. The intellectual woman, whether writer or reader, is totally absent.

Key words: Order of Malta, Knights, eighteenth century, women, travellers

 

Helena DUFFY, Les putes et les soumises: la dualité de l’image de la femme dans l’œuvre d’Andreï Makine, 43 - 57

Summary:

LES PUTES ET LES SOUMISES: DUALITY OF THE IMAGE OF THE WOMAN IN THE WORK OF ANDREÏ MAKINE

The present article addresses the duality of female protagonists created by Andreï Makine, a contemporary Russian-born, French-language author. Focusing on the writer’s four early novels and using psychoanalysis and sociology as analytical tools, I place the whores and the saintly mothers populating Makine’s works in the Russian cultural context, at the same time arguing that such polarized and unavoidably stereotypical representation of women stems from the author’s desire to accommodate his work to his prospective reader’s necessarily limited horizon of expectations. I also postulate that the inherent ambiguity of some heroines who oscillate between vice and virtue or, to use Freudian terminology, between the heimlich and the unheimlich, reflects the problematic identity of Makine’s male protagonists who ceaselessly hesitate between loyalty to Mother Russia and admiration for the West. Thus, the woman’s wavering between a homely and an uncanny figure undoubtedly mirrors Russia’s perennial struggle for self-definition as illustrated by the conflict between Westernishers and Slavophiles, recently revived as that between the advocates of Russia’s opening to the West and the Eurasianists who are nostalgic for their country’s isolation imposed by Communism.

Key words: Andreï Makine, Russia, woman, prostitute, duality, Virgin Mary, the uncanny, Medusa’s head

 

Justyna ŁUKASZEWICZ, Marianna Maliszewska, traductrice du Congrès de Cythère, féministe avant la lettre, 59 - 70

Summary:

THE POLISH TRANSLATION OF THE CONGRESS OF CYTHERA AND ITS FEMINIST ACCENTS

Marianna Maliszewska made a significant contribution to the Polish reception of two Italian writers, famous throughout the Enlightenment Europe. In both translations which reached Polish readers in the 1780s, she made her mark as an active participant in the cultural life, thoroughly familiar with the Italian language and Italian culture. Translating Carlo Goldoni’s comedy L’amante militare, she displayed a sound knowledge of the dell’arte tradition, and when translating Francesco Algarotti’s romance The congress of Cythera, she showed a critical attitude towards Arcadia. With her creative approach to translated texts Maliszewska is an example of conscious cultural mediation based on direct experience of Italy. The Polish version of the romance was created for a new type of readers (less important details of the foreign reality were omitted), but these new readers were not provided with any information in the paratexts that could compensate for the difference in competence between the new readers and the educated readers of the original. Maliszewska used the publication of this translation, which – as in the case of the earlier translation of the comedy – she did not adapt for Polish readers, to express the belief that the position of women in the cultural market was difficult, an opinion that was reflected in some of the modifications in the translated text.

Key words: translation, 18th century, Marianna Maliszewska, Francesco Algarotti, Italian-Polish cultural border zone, translation paratexts

 

Paweł MATYASZEWSKI, Montesquieu, sa femme et ses filles, 71 - 81

Summary:

MONTESQUIEU, HIS WIFE AND DAUGHTERS

In this biographical article, the author presents the history of Montesquieu’s family relations with his wife and two daughters. While Montesquieu, it seems, did not have any deep feelings and affection for his wife, Jeanne de Lartigue, and, in particular, there was no intellectual bond between them, his wife played a role of an ancestral property administrator during his frequent and sometimes long absences from the home region. In carrying out this task Jeanne de Lartigue displayed considerable talent and administrative skills. Another type of a relationship, however, existed between Montesquieu and his daughters, Marie and Denise, especially between him and the latter, the youngest daughter. At some point he entrusted her with the role of his own secretary and she diligently assisted her father in editing The spirit of the laws. Montesquieu included his daughter into the intellectual sphere of his life, from which he deliberately excluded his wife. Unfortunately, this does not change the fact that in his family plans this daughter, too, was subject to the inexorable patriarchal laws and the feudal family traditions.

Key words: Montesquieu, family, wife, daughters

 

Krystyna MODRZEJEWSKA, Marguerite Yourcenar, l’extravagance reconnue, 83 - 93

Summary:

MARGUERITE YOURCENAR, EXTRAVAGANCE RECOGNISED

The election of Marguerite Yourcenar to the French Academy in 1980 was widely commented. The controversy was caused by her free lifestyle, sexual inversion and her American citizenship. The size of her work, published in the prestigious Pléiade editions, with its male characters, the Roman emperor Hadrian and the alchemist Zeno, both splendidly show the fate of a man struggling with issues of his time and reveal the personality of the writer. A futile battle against nature and sexual inversion, clarity of vision, curiosity of the world satisfied by numerous travels and tireless study of historical documents, as well as self-improvement and faith give her work an individual and universal character. Her vast erudition and talent for writing enabled her to cross the threshold of an institution which had been a guardian of the French tradition since 1635. She used her inauguration speech as an opportunity to criticize the institution for underestimating the role of women in creating culture.

Key words: Yourcenar, the French Academy, the greatness of man, power, religion, service, distance

 

Maja PAWŁOWSKA, Mlle de Scudéry: portrait de Sapho ou inclusion par l’exclusion, 95 - 104

Summary:

PORTRAIT OF SAPPHO BY MADEMOISELLE DE SCUDÉRY OR INCLUSION THROUGH EXCLUSION

In the 17th century, Mademoiselle de Scudéry, because of her sex, lack of wealth and tarnished name, did not occupy any significant place among the writers and the elite salons of Paris. However, she won the admiration and respect of her contemporaries by skillfully combining the promotion of her intellect with far-reaching modesty. She was highly appreciated by the literary circles for publishing her own book under her brother’s name and thus observing the rule concerning female propriety. Portraying herself as Sappho in the novel Artamène ou le Grand Cyrus, Mademoiselle de Scudéry presented herself as an outstanding intellectual, but at the same time she strongly dissociated herself from the bluestockings who publicly demonstrated their knowledge. She believed that no woman should do things reserved for men. If she had such predispositions, she should do so discreetly, without questioning the traditional division of social roles. Mademoisell e de Scudéry’s attitude was greatly appreciated by 17th century critics and readers.

Key words: Mlle de Scudéry, Artamène ou le Grand Cyrus, 17th century French novel, Sappho’s portrait, women intellectuals

 

Aline VIVIAND, Les enjeux des stéréotypes de l’apparence physique de la femme française, polonaise et allemande en contexte de rencontre interculturelle de jeunes. Une étude comparative, 105 - 118

Summary:

THE STEREOTYPES ISSUE OF THE FRENCH, POLISH AND GERMAN WOMAN’S PHYSICAL APPEARANCE IN THE CONTEXT OF YOUTH INTERCULTURAL MEETING. A COMPARATIVE STUDY

This article focuses on the contents and the operations of stereotypes and the physical appearance of french, polish and german women, in the context of intercultural meetings of young people. The physical stereotypes, which are often in sharp contradictions with the appearance of participants can remain by the youth, as evidenced by the activities on stereotypes provided during the meetings. Although stereotypes are often viewed as harmful to the understanding between cultures, they play a role through their cognitive and affective dimensions in the recognition of national identities and cultures and are a gateway to cultural otherness.

Key words: stereotype, physical appearance, intercultural, youth

 

Jacques WAGNER, Les héroïnes littéraires sous l’Ancien Régime, entre femme vraie de la nature et vraie nature de la femme, 119 - 132

Summary:

FEMALE HEROES IN ANCIEN REGIME LITERATURE : BETWEEN WOMEN TRUE BY NATURE AND THE TRUE NATURE OF WOMEN

Women have always been the object of a dual perception, included in a male-dominated world or excluded from it according to social and religious considerations. This paper analyses the exclusion/inclusion of women in 17th and 18th Century literature in France. The image of female condition in works of the end of 17th Century and the end of 18th Century is analysed in both theatre (as a “public” genre written for a collective reception) and novel (as an “intimate” genre written for individual reading). We can see a social exclusion of women in the 17th Century, when they were considered as passionate beings forced to be tarned for the sake of their social duty. In the 18th Century, they tend to be included in male world thanks to their own intelligence and natural way of being against sophisticated social behaviours. Yet, despite this victory due to a change in mentalities, women still remain in the shade of men: if classic writers imposed on women the duty to respect transcendental order, Enlightenment writers simply but thoroughly imposed them to respect natural order.

Key words: 17th and 18th theatre and novel, woman condition, woman social exclusion and inclusion

 

Tomasz WYSŁOBOCKI, Ôter la raison aux femmes: question d’ordre public, 133 - 143

Summary:

TO DEPRIVE WOMEN OF REASON – A QUESTION OF SOCIAL NATURE

The arrival of the Revolution brought French society many changes which had been demanded for years. The privileges which oppressed the subjects of Louis XVI were abolished – people were all free and equal in the eyes of the law. However, the “Declaration of the Rights of Man and of the Citizen”, which did not mention women, allowed politicians and thinkers of the time to gradually exclude women from public life – first in the new constitutional monarchy and later in the republic. Educational deficiencies and a lack of common sense and even reason were the argument used most often to demonstrate the inability of women to exercise power and to obtain legal and civil liberty. In the new bourgeois order, women’s ambition was limited to the role of mothers and wives. Some women as well as some men did not want to come to terms with such a lack of social balance. They argued that nature equipped women with the same intellectual capacity as men and, therefore, being equal to men, they should be able to enjoy the same rights.

Key words: revolution, women, emancipation, political rights, civil rights, education, family

 

Izabella ZATORSKA, Éclipse au féminin? Lettre citée dans les romans de Prévost, 145 - 156

Summary:

LETTERS QUOTED IN PRÉVOST’S NOVELS

What is the status of letters quoted in Abbé Prévost’s novels? Do they really, as it appears at first glance, reveal a truly feminine weakness of the male or female author of the epistle who writes to avoid confrontation with the protagonist-narrator? An analysis of several letters quoted in novels written in the first stage of the writer’s creative activity – Mémoires et aventures d’un Homme de qualité qui s’est retire du monde (1728), Histoire du Chevalier des Grieux et de Manon Lescaut (1731) – shows that this form, disappearing in the later novels in favour of a summary or quotation in (seemingly!) reported speech, may be associated with a specific understanding of heroism as “everyday eschatology”. The situation of the protagonist receiving a letter (from a father entering a monastery or from an unfaithful lover) is defined by the paradoxical rhetoric of the letter. Concealment of the letter content or third-person accounts concern the events in which the intrigue – be it one dealing with family matters or politics – plays a crucial role, obscuring the original heroism, even in the ambiguous case of Manon’s “sacrifice”, which terrifies Des Grieux so much.

Key words: epistolography, novel in letters, letter in the narrative, Prévost, the Orient, eschatology

 

 

Comptes-rendus de lecture 

 

Agata Sylwestrzak-Wszelaki, Andreï Makine. L’Identité problématique, L’Harmattan, Paris 2010 (Helena DUFFY), 157

 

 

Aleksandra Walkiewicz, Francuskie formy subjonctif i indicatif oraz ich polskie ekwiwalenty. Studium kontrastywne użyć w zdaniach złożonych, Wydawnictwo Naukowe UMK, Toruń 2010 (Lidia LEBAS-FRĄCZAK), 160

 

 

Maximilien Wiklinsky, Voyages. Podróże, traduit et édité par Izabella Zatorska, Leksem, Łask 2008 (Berenika PALUS), 164

Romanica Wratislaviensia LIX - "Figure(s) du traducteur"

Romanica Wratislaviensia LIX - "Figure(s) du traducteur": 

Romanica Wratislaviensia LIX

Figure(s) du traducteur

Rédacteur du volume – Elżbieta Skibińska

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2012

(Acta Universitatis Wratislaviensis Nr 3389)

Table des matières

I. TRADUCTEUR (AU) FIGURÉ 

Yves Gambier, « Le traducteur défiguré? », 13

Representations of translators and interpreters in fiction often copy clichés on both professions.

Quite a number of novels and films today are referring to them by using stereotypes or negative opinions. In a way, they continue the long list of metaphors which have been created in the past to talk about translation and translators. However, the information and communication technology is changing the practices and therefore images of the work of mediation.

Michaël Mariaule, « La traduction en images et l’image du traducteur à travers les âges », 25

This article analyses the past figure of the translator through metaphorical representations of

translation. Indeed, from Ciceron onwards, translation, but also its various manifestations, has beenmore metaphorised than defined or explained. The first part of the analysis deals with positive as well as negative metaphors on translation and the translator, while the second part is more concerned with the metaphors that have been used to characterise, advocate or reject different types of translation.

Joanna Jakubowska-Cichoń, « Configuration traducteur – auteur : jeu sur deux lignes. Sur la Vengeance du traducteur de Brice Matthieussent », 41

The main subject of Brice Matthieussent’s novel Vengeance du traducteur [The Translator’s

Revenge] is the relations between the translator and the author of the original. These relations are hierarchical and are illustrated with valuating elements depending on the place within a vertical structure, where the bottom — symbolic translator’s area — is perceived negatively, while the top, “belonging” to the author, is perceived positively. The present article contains an analysis of those aspects of the novel (typographic, stylistic and plot-related) that are involved in the construction of the picture of “spatial,” axiologically-marked relations between the translator and the author. Through this we want to demonstrate that the stereotypical approach to the translator as a figure subordinated to the author is just a starting point for showing a dynamic figure, full of contradictions, under constant tension between depression and elation, re-creator and at the same time creator (of the translation).

Monika Grabowska,  « Le traducteur vu par son auteur », 51

The article is an attempt to answer the question of how the writer sees the work and role of the translator. The research tool was a survey comprising eight open questions which the present author presented to five Polish literary writers: Marek Krajewski, Olga Tokarczuk, Przemysław Wojcieszek, Małgorzata Sikorska-Miszczuk and Zyta Rudzka. The article contains a synthesis of their replies to questions concerning the emotions generated by the fact they are translated, their vision of the translator’s work, its creative/reproductive nature, copyright on the translated text, responsibility for the success/failure of the translated work, the role of the author and the translator as intercultural mediator.

Jadwiga Cook,  « Figure de rêve ou comment les étudiants se figurent le traducteur », 65

In this article we try to answer the question how students of Romance languages and literature

see the translator’s profession. To this end, we have analysed 117 questionnaires in three groups: undergraduate students, MA students specialising in translation and students of a post-graduate course for translators of Romance languages. The analysis has enabled us to show the image of the translator among students at various stages of their education, the motivation behind their choice of such a career and whether this image changes as the respondents’ knowledge and professional experience expand.

Agata Rębkowska, « Traducteur polonais de dessins animés: une figure importante? », 77

Since the spectacular success of Shrek, full-length animated films have become increasingly popular in Poland. The success of these films depends to a large extent on the translators, who contribute to the rise or drop in the audience ratings of a given language version of a film. Unfortunately, the translators of animated films seem to go virtually unnoticed, a fact that can be seen in, for instance, a lack of articles in specialist periodicals. Therefore, it seems interesting to examine how the adult audiences of animated films shown in Polish cinemas see the translators of these films. A question arises whether adult viewers of animated films pay attention to the authors of their translations, and if so, how their work is perceived and what their position in the social hierarchy is. In order to answer these questions, the author will use the results of a survey carried out among the audiences of one of Wrocław cinemas as well as press articles and internet fora devoted to translations.

 

II. FIGURES (RE)CONSTRUITES

Magda Heydel, « La figure du traducteur dans les recherches traductologiques. Exploration », 91

In the analytical models proposed by the Translation Studies after the Cultural Turn of the 1990s, the figure of a translator as a key actor in the process of intercultural communication and a subject of culture creation, while becoming a central category, has undergone various re-definitions and re-conceptualizations. Placing the translator in the very centre of the analysis of translation and acknowledging his visibility both in the history of translations and the structure of texts, calls for rethinking of other categories in the discourse and for a new delimitation of the field of research for Translation Studies. In the present paper I compare two models of understanding of the figure and position of a translator as emerging from the works of Polish and English-language researchers, published in the 1990s and later, during the period of Cultural Turn in Translation Studies. One of these models, clearly visible in Polish research, is based on the binary opposition between the original and the translation, where the position of the translator is perceived as inferior to the one of the author. This results in an axiological and critical character of the description of the role he plays. What gains prominence are the differences between the two texts. They are inevitably treated as mistakes or imperfections the translator is blamed for. The other model I infer mainly from the work of Anglophone scholars leaves the area of purely textual analysis and looks at the figure of a translator in historical and biographical contexts, against the backdrop of his times and circumstances. Within this model translation is perceived descriptively as a creative process and not as a product to be assessed for some kind of idealized quality, so the translator is not charged with “infidelity” but seen as a decision making subject. The differences between the two models shed light on the paradigms they stem from as well as on the characteristics of the language of Translations Studies. But most of all they point to the opening or closing of further perspectives for research in translation. The aim of the present paper is to describe how the discourse of Translation Studies reveals its underlying assumptions and how the description of the figure and role of a translator informs the general analysis of translation as a cultural phenomenon.

Małgorzata Gaszyńska-Magiera, « De la (non)visibilité des traducteurs polonais de la littérature latino-américaine à l’époque du boom polonais », 107

Looking back, the Ibero-American literature boom is regarded as one of the most important literary phenomena towards the end of the communist period in Poland. The presence of Latin American prose modified considerably Polish literary culture: it changed readers’ expectations with regard to literary texts in general, influenced the sensibility of writers making their debuts at the turn of the 1980s and led to revisions of opinions in literary criticism. The number of translations presented to the readers at the time testifies to a huge translation effort without which these phenomena would not have occurred. That is why it seems justified to ask to what extent this effort was noticed. Using L. Venuti’s expression, we could wonder whether Polish translators of Ibero-American literature remained invisible.

The present attempt to answer this question is based on an analysis of strategies used by the most important publishers of Ibero-American prose in the boom period — i.e. Państwowy Instytut Wydawniczy and Czytelnik as well as Wydawnictwo Literackie from Kraków — and of reviews published in the Polish press. The attitude of publishers and critics towards translators has influenced the way the translators are perceived by the readers — whether they become visible as intermediaries in intercultural exchange or whether they remain craftsmen hidden in the shadow. Few translators of Ibero-American literature have become public figures in Poland; the names of most of them have not been remembered

by the readers. What factors, therefore, played a decisive role in some of them remaining in the collective memory while others disappeared from it?

Maria Papadima, « Le retraducteur : un traducteur pas comme les autres », 121

The aim of this paper is to specify the characteristics of the retranslator as opposed to those of the translator. The term retranslation is used in the sense of a “new translation of a text in one or more than one languages”. The phenomenon of retranslation accompanies translation from its first steps; consequently translators and retranslators share the same long history. The patron saint of translators St Jeronimo, the first of retranslators himself with his work on the Bible, defined retranslator’s characteristics. A retranslator who takes over the translation of an already translated text will definitely question, criticize or praise the work of translators that preceded his/her own, asserting a place in the translators’ family. Selectively talkative he/she frequently furnishes his/her work with a peritext that allows us to get a glimpse of this peculiar writer with his/her complicated personality, who is the translator.

Marzena Chrobak, « Truchements de Normandie – essai de la reconstruction d’une figure », 131

For a historian of translation who cannot cross-examine a living translator, the basic method is a critical comparison of surviving sources. I use this method when trying to reconstruct a portrait of the so-called truchements de Normandie, French interpreters in the Brazilian Littoral in the 16th-century, who acted as linguistic and cultural intermediaries in trade with the Tupi Indians and in French settlement ventures. Although in the period in question the interpreter was an obligatory link in French-Brazilian contacts, 16th-century sources do not pay much attention to him. The little information that has survived comes mainly from accounts by people associated with an attempt, made in 1555, to start a French colony on an island in the Guanabara Bay, near today’s Rio de Janeiro: the head of the colony, Nicolas Durand de Villegagnon, his lieutenant Nicolas Barré, the royal cosmographer André Thevet and a Protestant settler, Jean de Léry. This modest corpus is complemented by non-French accounts: by a Portugese Jesuit, José de Anchieta, who was engaged in missionary and political activity in the Guanabara Bay region in the 1560s, and a German cannoneer in Portuguese service, Hans Staden, who spent nine months as a captive of the Tupinamba Indians in 1554. The diversity of characters, interests and points of view of these authors makes it possible to paint a stereoscopic portrait of the eponymous truchements — competent, effective, acculturated, entangled in the defence of interests of various parties.

Małgorzata Tryuk, « Figure(s) de l’interprète/rôle(s) de l’interprète », 143

The aim of the article is to present selected aspects of the work of court interpreters appointed by the National Supreme Tribunal, which between 1946 and 1948 tried Nazi criminals in Poland. The interpreters’ role and tasks are examined in the light of the main concepts of the sociological theory developed by Pierre Bourdieu: concept of field, habitus and interpreting practice.

Natalia Paprocka, « Traducteurs polonais de la littérature de jeunesse française : pour un portrait collectif », 155

The aim of the article is to examine the figures of Polish translators of French literature for children and young people between 1900 and 2010, and to create their group portrait. To this end, the author has used a bibliometric method to analyse a bibliography of Polish translations of French books for children and young people, a bibliography selected by the author and encompassing ca 1500 titles. The author answers the following six questions: Who translates French literature for children and young people into Polish? In which periods did the most active translators in this field translate and how long did their translations “live”? What did they translate? For which publishers did they work? Translations of which translators are most often published? What is the profile of the most active translators of this literary domain?

Agnès Whitfield, « Méthode et pratique du portrait : sur les traces des traducteurs », 175

This article describes the method and practice of the portrait as a means of acquiring a more profound appreciation for the complex values, goals and work process of literary translators. Based on empirical research, the portrait method brings together biographical material on the translator, bibliographical data on his/her translations, writings, and other texts or interviews on translation, information on his/her professional implication and activities, and details concerning his/her work process and relations with writers and publishers. However, the over-arching goal of the portrait is not simply to provide a compilation of the translator’s achievements, but to make inferences, through a holistic approach to the data, about his/her underlying motivations and aspirations, and by so doing, to better understand the meaning he/she attributes to his/her work. Portraits of Émilie du Châtelet, Hannah Josephson and Patricia Claxton illustrate how the open-ended portrait methodology can enlarge our understanding of the translation process.

Elżbieta Skibińska, « Missionnaire, consacrant, passeur, héraut...? Figures du traducteur de littérature polonaise en France », 185

The article draws on bibliographical data concerning translation of Polish literature in France after 1945 and the results of a survey carried out among translators of Polish literature into French. The autor presents the changes in the number of translators between 1945-2009 as well as their "collective portrait." The data concerning, among others, the age, sex, place of birth, education, mother tongues, situation of the translators of Polish literature in the French publishing world, illustrate the internal diversity of the community of translators, and their attitude to the task and work of the translators of Polish literature, as well as their various roles changing over time.

Justyna Łukaszewicz, « Traducteurs de théâtre – portrait de groupe », 203

The article presents the results of a questionnaire in which I asked theatrical translators about e.g. their education, number of plays translated, opinion about the specific nature of translating for theatre, attitude to adaptations, the biggest satisfactions and disappointments related to working on translations of theatre plays. The comparison and interpretation of answers sent by 25 translators, mostly living in France and translating into French, are complemented by the points of view of two Polish respondents as well as by information about the profile of theatrical translators in the United Kingdom and Italy, information from the latest scholarly publications devoted to this field of translation.

Regina Solová, « Les traducteurs assermentés polonais vus par eux-mêmes », 215

The article presents the results of a survey conducted among sworn translators of French concerning the education of translators and their attitude to their profession. A vast majority of the respondents did not have an opportunity to take part in special courses for (future) translators, which were rare in Poland before the 1990s, and they developed their professional competence themselves. Significantly, some self-taught translators are reluctant to share their knowledge with colleagues and students. They believe that their knowledge and skills are something they have worked to achieve on their own for many years. Many responses can be summed up by a description of the translator’s profession as craft (an expression used by one of the translators), in which experience is gained thanks to hard work on one’s own, work that is not well paid. The opinions presented in the survey may evolve with time, e.g. thanks to the adoption of the Act on the profession of sworn translators, which is speeding up the professionalisation of this occupation

 

III. TRADUCTEURS : FIGURES PARTICULIÈRES

Peter Schnyder, « André Gide, traducteur paradoxal », 229

The Nobel-prize laureate André Gide (1869–1951) was a somewhat “ paradoxical ” translator: he used translation in order to make a fresh start as a writer (narcissistic side), but also to make a book, an author, and a culture better known (altruistic side). He was capable of the greatest patience when interested in a text: in the same way, he was capable of abandoning it as soon as he lost interest in it. Translation was appealing to him in itself, as a challenge to the craft of writing. The attention he devoted to the translation of his own texts, especially into English and German, is a sign of his professional approach to the issue. Following up on some previous research, this paper analyses a peculiar “block”: while Gide allowed going as far as possible in the adequacy of the target-language to the source-language, the praxis shows that an invisible barrier of “proper usage” stopped him from allowing disturbing structures in the target-language. His second-thoughts as a translator are apparent in the translations he recovered after a period of oblivion: it sometimes occurs to him to encumber his first drafts, which were sometimes better. This paper tries to show how Hamlet turned the translator into a glosser: it is only twenty years later that he managed to complete a translation judged “impossible” in the 1920s. It was Maurice-Edgar Coindreau who stated that translators are “men with no rights, only obligations.” Gide was ready to take on this submission, as long as he could fix its conditions. A paradoxical translator…

Daniel Gagnon, Union des écrivaines et écrivains québécois, « Figures de l’auto-traducteur dans le contexte canadien-québécois », 237

This article examines briefly the representation of translation and translators in Canadian and Quebec literature generally from the mid-1940s to the works of such authors as Nicole Brossard, Jacques Poulin, Gail Scott and Francine Noël in the 1980s, before examining more particularly the case of authors including Nancy Huston, Robert Dickson and Agnès Whitfield who translate their own works between English and French. Detailed analysis of the writer’s own novels, The Marriageable Daughter and My Husband the Doctor, confirms the hypothesis that, in Canadian and Québécois contexts of self-translation, figures of the translator or translation process tend to emphasize writerly and creative dimensions.

Joanna Górnikiewicz, « Figures des premiers traducteurs polonais de Proust », 247

Translating Proust’s works is not easy... Undoubtedly anyone who has dared to tackle the original will confirm this opinion. In the article, the author presents some portraits of those who were the first people in Poland to have taken on the challenge and answers the question when and in what circumstances the most famous of Proust’s works, In Search of Lost Time, was translated for the first time.

Tania Collani, « Tous les masques du traducteur : l’exemple d’Aldo Camerino » 259

Beginning from the 1940s, Aldo Camerino (1901–1966), a Venetian writer and literary critic, translated into Italian many literary works from French, English and Spanish. In a strongly liberticidal period (due to Mussolini’s regime, racial laws and WWII), the emerging “industry of translation” had to struggle to publish certain literary works, and authors/translators were often disguised under aliases in order to escape the censorship’s watchful eye. Although at the time often invisible behind his different masks, Aldo Camerino comes across today as a figure of a courageous and discreet translator and scholar.

Alfred Strasser, « Karl Dedecius – traducteur et médiateur entre la Pologne et l’Allemagne », 269

Karl Dedecius is the most important translator of Polish poetry into German of our time. He was born in 1921 in Łódź to German parents. After the German invasion of Poland in 1939, he was incorporated in the German Wehrmacht and eventually became a prisoner of war in the Soviet Union. During this time, he taught himself Russian and also translated poems by Lermontov and other Russian poets. In 1949 he came back to Germany, first to Weimar in GDR and two years later to Frankfurt in GFR. In his free time, Dedecius translated Polish poetry into German. In 1959 the first anthology Lesson of Silence was published. After this, many other translations of Polish literature into German followed. As Dedecius was making a name for himself as a translator, he was commissioned to found a Polish-German research institute. By making Polish culture known in Germany Dedecius certainly contributed to better relations between Poland and Germany. His essay On Translating: Theory and Practice can be considered as a handbook for translation. In this book he relates the history of translation theory from antiquity until today and other theoretical questions, but first of all, he gives advice on how to make a good translation.

Enrico Monti, « Hofstadter et les paradoxes de la traduction », 279

Douglas Hofstadter (born in 1945) is a peculiar scholar: a Pulitzer-prize winner and a specialist in cognitive science, he is nevertheless quite fond of translation, to the point of practicing (and studying) it in several publications since 1997. Our essay focuses on his latest work in this field, That Mad Ache / Translator, Trader (2009). It is a double book, with two covers and two reading directions: on the one hand, readers will find Hofstadter’s retranslation of Françoise Sagan’s 1965 novel La Chamade (1965); on the other hand, turning their book, they will be faced with a long essay on the translation of that book into English. It is truly a double book, with theory and practice of translation going one towards the other, highlighting all along the role of the translator, too often underestimated in the Anglo-American publishing scene. Analyzing such a peculiar book, we should try to sketch an unconventional figure of a (re)translator and translation scholar: he is fascinated by the paradoxes and possibilities of translation, and his fame, together with his excellent vulgarization skills, manage to renew the charms of translation and share them with a larger audience.

Tatiana Musinova, « Voyage au bout de la nuit : le parcours du traducteur dans l’adaptation de l’œuvre célinienne en russe. Sur l’exemple de la traduction réalisée par Yuriy Korneev, 1994 », 291

Translation into a foreign language of the work of Louis-Ferdinand Céline, the author known as really difficult to translate, is always considered as a milestone in the evolution of contemporary translation. In our article, the question we ask is how foreign translators achieve to render in other languages this Celinian French so vivid, violent, and horrifying by its rudeness and vulgarity. Searching an answer to this question, we have tried, using the example of the Russian translation of Céline’s first novel Journey to the End of the Night performed by Yuriy Korneev, to describe the obstacle course that a translator carries out in order to make an adaptation of the original text. Working over Céline’s masterpiece, a translator begins his work by studying the original style of the author in order to understand the nature of work on the language and catch on the effect muchsought by Céline. The restitution of the orality effect is a fundamental part of the stylistic work gone by the translator. Thus, in our article we draw on the major difficulties of translation that are: the “little music” of Céline formed on the basis of the choice of words to play on phonemes, the sounds and the rhythm of the sentence and onomatopoeia; the semantic matching between the two languages, using the same images and ideas association; transposition of regional and popular accents; translation of slang, scatological and offensive terms; spatial and temporal dissimilarities with the culture of today; plays on words and allusions, etc… Thus the translator working on a Céline’s novel is constantly coping with many difficulties that are sometimes really impossible to overcome, so that the translation is “swaying,” becoming sometimes too soft and neutral, sometimes too brutal and repugnant.

 

IV. TRADUCTEURS AU THÉÂTRE

Beata Baczyńska, « Traducteur au théâtre: Juliusz Słowacki et son Książę Niezłomny (Z Calderona de la Barca) », 305

The article presents the history of the reception of El príncipe constante by Pedro Calderón de la Barca as translated by Juliusz Słowacki in Poland in connection with the form which both names — of the author and the translator — took on the poster, beginning with the premiere at Teatr Krakowski in 1874 and ending with the production of The Constant Prince directed by Jerzy Grotowski. The author draws on the opinion of Polish theatre scholars, who — on the basis of recent works devoted to the analysis of the play’s translation — are inclined to treat Słowacki’s Constant Prince as a “performative experience of [...] acting” turned into a “theatrical scenario.”

Constantin Bobas, « Mises en traduction théâtrale : Valère Novarina – Dimitris Dimitriadis, contextualisations multiples d’un événement scénique », 319

In terms of theatre, translation involves not only linguistic transfers on the level of discourse signification, but also a transfer of functions in relation to other signs of theatre action. Theatre translation as a component of a whole dramatic process has to consider among other criteria the author’s (playwright) basic position which leads the speech action to the stage. In this context, the V. Novarina and D. Dimitriadis’ approaches present opposite points of view, with different cultural references, corresponding to a contemporary theatrical discourse which could contribute to an important extent, to the translator’s work.

Aleksandra Chrupała, Joanna Warmuzińska-Rogóż, « Femmes, joual et figure du traducteur : version polonaise d’Albertine, en cinq temps de Michel Tremblay », 331

The aim of the present article is to present the problem of translating into Polish the joual, which is one of the important elements of the oeuvre of the Quebecois playwright Michel Tremblay. Using the play Albertine, in five times and its Polish translation by Jacek Mulczyk-Skarżyński, the present authors demonstrate both the specific nature of the original text and the characteristic features of the joual as well as the strategies applied by the translator. Albertine, in five times is a unique combination of the world of female characters and joual, inextricably connected with them, which means that such an important element of the text should be rendered in a translation with particular care. In the analysed corpus, the translator acquits himself well on the whole, although the technique he chose (compensation, mainly on the lexical level) brutalises the target language text. Of significance is the translator’s young age, which is also revealed in the lexical items he chose. Thus the translation itself shows the translator’s influence on the final text.

 

V. FIGURES INATTENDUES

Maryla Laurent, « Le mystère irréductible de l’œuvre. Quand la figure du traducteur se démultiplie », 347

At the age of computers and the development of communication science, the practice of literary translation benefits from significant support (facilitated consulting of specialists and reference books, correcting assistance, division of labor, simultaneous editing within a short time in multiple languages, etc.). Nevertheless, progress carries perils: the speed and ease of communication makes us sometimes forget that beyond the information strictly speaking, a literary work finds its quality in specific depths. These require time to be seen and rendered: the time to identify metainformative pointers putting statements in perspective, and by the way assigning to pieces of information different functions; time to restore in the target text underlying signifying networks, and so on. Polycephalic translations as increasingly practiced in the “Blockbusters” publications are a worrying editorial practice. If they were to be used for great literature translation, it is feared that the result would be similar to the French version of the work of Bruno Schulz. The Cinnamon Shops, whose French version is a collection of the work by three translators, is in French very far from being the literary marvel that Polish readers can enjoy.

Kaja Gostkowska, « Figure invisible ou le traducteur sans le savoir. Sur un aspect du discours rapporté dans les textes biomédicaux français et polonais », 361

In biomedical engineering, both in the Polish- and French-speaking world, numerous scientific papers are published every year: articles in specialist periodicals, doctoral theses, monographs, academic textbooks, etc. Even a perfunctory analysis of titles and names of authors indicates that these are not translations. At the same time, specialists constantly draw on works written in English. They also refer to them in their publications, thus doing the work of translators (usually unconsciously). The aim of the article is to show how specialists refer to foreign-language works and what linguistic means they use when quoting research results described in a foreign language.

Witold Ucherek, « Le traducteur dans le dictionnaire bilingue », 373

The author analyses fragments of entries devoted to the preposition za in its spatial use found in fourteen contemporary Polish-French general dictionaries of different sizes. A general conclusion from the analysis is that, due to significant gaps in the inventory of equivalents and in exemplification, none of the fragments dealing with za makes it possible for native speakers of Polish to select the correct French equivalent of the preposition za in its spatial meaning. That is why the author presents his own proposal of a relevant entry dealing with za prepared with Polish language users in mind.

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Romanica Wratislaviensia LX - "Altérités, contrastes, transferts"

Romanica Wratislaviensia LX - "Altérités, contrastes, transferts": 

Romanica Wratislaviensia LX

Altérités, contrastes, transferts

Rédactrices du volume: Elżbieta Biardzka et Justyna Łukaszewicz

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2013

(Acta Universitatis Wratislaviensis Nr 3507)

 

Table des matières

 

I. ALTÉRITÉS, CONTRASTES, TRANSFERTS EN LINGUISTIQUE 

 

Anna Dutka-Mańkowska, « Le discours direct libre en français et en polonais – approches et problèmes de traduction », 13-23

FREE DIRECT SPEECH IN FRENCH AND IN POLISH — APPROACHES AND PROBLEMS OF TRANSLATION


Free direct speech (discours direct libre) is a form of quotation based on interpretation, and although it currently is of interest to French researchers, the definition and characteristics of this concept is questionable. Polish researchers do not recognize it as a category. In its canonical form, exhibiting the updating of the quoted discourse and the lack of discourse of the quoting person, it occurs in literary texts in different variants. It is similar in the case of target texts in Polish, where several types of modification of the structure of the original text can be considered as creative solutions of the translator.

 

Greta Komur-Thilloy, « Stratégie du discours rapporté dans la presse écrite polonaise dans une perspective comparative avec la presse française. Cas du discours indirect », 25-33

STRATEGY OF REPORTED SPEECH IN THE POLISH PRINT MEDIA IN A COMPARATIVE PERSPECTIVE WITH THE FRENCH PRINT MEDIA. CASE OF INDIRECT SPEECH



In this paper, we study the language conveyed by the Polish print media in a comparative perspective with the French print media. We ask ourselves how the speech of different speakers can be introduced by the journalist. In such a way, the forms of reported speech are the main object of our analysis. We focus on how journalists use formal and enunciative technics, first to protect themselves in terms of exactness of reported speech, second, to distance themselves from reported speech punctuality. We try to identify syntactic structures and mechanisms allowing journalists, entirely keeping impartiality, to guide the lecturer’s interpretation.

 

Mirosław Karykowski, « Dialogisme interdiscursif en contexte judiciaire international », 35-44

INTERDISCURSIVE DIALOGISM IN THE CONTEXT OF INTERNATIONAL CIVIL PROCEDURE



The subject of the article is the correspondence from the years 2000–2010 between a Polish regional court and the French Ministry of Foreign Affairs. From the methodological point of view, the paper falls within the scope of the notion of interdiscursive dialogism suggested by Sophie Moirand (2002) and focuses on the analysis of a set of elements of text corpus displaying the relationship found between the letters and the texts formulated earlier. The analysis is carried out with respect to the conditions in which the texts developed, the most important being the 1956 New York Convention on the Recovery Abroad of Maintenance. The analysis reveals that both interlocutors resort to the same mode of expressing the connection: it is a matter of special importance to put the earlier statements into attachment and, at the same time, to quote its fragments in the letters. Similarities are also seen in the micro- and macrostructures. A noticeable difference is in the noun syntagm used only in Polish, which functions as a verb introducing reported speech. The lack of the syntagm in French is compensated by a diversified syntax of introductory verbs.

 

Monika Grabowska,  « L’appréhension de l’Autre dans l’interaction : le cas des formes d’adresse dans le roman Madame de Antoni Libera », 45-54

PERCEIVING THE OTHER THROUGH INTERACTION: THE CASE OF ADDRESS FORMS IN THE NOVEL MADAME BY ANTONI LIBERA



In this article, we analyse the interactions in the novel Madame, specifically the way a teacher and her students use address forms. The basis of the analysis is the chapter ”Per aspera ad astra“ whose plot focuses on a French lesson.

First, we define the object of our research (address forms), secondly the context in which it is used (interaction). We also shortly analyse the interactions which can be observed in the chosen fragment of the novel and which are analysed in terms of intercultural aspect. We put the stress on the role address forms play as elements enabling people to negotiate interpersonal relationships.

 

Witold Ucherek, « La préposition za au sens temporel dans les dictionnaires généraux polonais-français », 55-64

THE PREPOSITION ZA IN ITS TEMPORAL USE IN THE GENERAL POLISH-FRENCH DICTIONARIES


The paper analyses fragments of entries devoted to the preposition za in its temporal use found in sixteen contemporary Polish-French general dictionaries of different sizes. A general conclusion from the analysis is that, due both to inappropriate construction of these entries and to significant gaps in the inventory of equivalents and in exemplification, none of the fragments dealing with za makes it possible for native speakers of Polish to select the correct French equivalent of the preposition za in its temporal meaning.

 

Ewa Miczka, « Les structures discursives à scénarios parallèles. Le cas du fait divers », 65-76

DISCOURSE STRUCTURES WITH PARALLEL SCENARIOS. THE CASE OF FAIT DIVERS



In this paper the author analyzes situational structures of fait divers. Situational structures of discourse are defined as a sequence of experiential frames. Each frame permits to conceptualize one event forming a part of information introduced in the discourse. The author focuses her attention on one class of situational structures in which different scenarios of the same event are introduced and analyzes the internal structure of experiential frames activated in discourse, relations between frames identified in the discourse and sources of different conceptualisations.
 

 

II. ALTÉRITÉS, CONTRASTES, TRANSFERTS EN ÉTUDES LITTÉRAIRES 

 

Catherine Dumas, « De la comedia espagnole à la comédie française : trois exemples chez les frères Corneille», 79-87

FROM SPANISH COMEDIA TO FRENCH COMEDY. THREE ADAPTATIONS BY THE CORNEILLE BROTHERS



This article sets off the links and discrepancies between Spanish Golden Age comedias cómicas and their adaptations by French playwrights in the middle of the XVIIth Century. The exam ples of three comedies — Pierre Corneille’s Le Menteur and La Suite du Menteur (from Alarcón’s La verdad sospechosa and Lope de Vega’s Amar sin saber a quién), and Thomas Corneille’s Don Bertrand de Cigarral, (adapted from Rojas Zorrilla’s Entre bobos anda el juego) — show that, whatever may be the approach (gallicization, in the first two plays, or keeping a Spanish frame for the plot, in the third one), the adapters’ main concern is to create an atmosphere as well as characters that in both cases would appeal to the audience. The fact the Corneille brothers clearly wrote those three adaptations with one actor in mind (Julien Bedeau, alias Jodelet) for the main comical parts proves their wish to implant the plots in the topical French drama production of the XVIIth Century.

 

Natalia Paprocka, « Des contrastes entre la littérature traduite et non traduite : sur l’exemple des formes nominales d’adresse dans la littérature de jeunesse polonaise et traduite du français en polonais »,89-101

CONTRASTS BETWEEN TRANSLATED AND NON TRANSLATED LITERATURE : EXAMPLE OF THE NOMINAL ADDRESS FORMS IN POLISH YOUTH LITERATURE AND FRENCH YOUTH LITERATURE TRANSLATED INTO POLISH



The object of the present paper is to check if contrasts may be observed between non-translated Polish youth literature and youth literature translated from French into Polish, on the example of the use of syntaxically unintegrated nominal address forms containing civility titles. Our analyze shows four contrasts, each one concerning another type of address form: (a) civility title + CHRISTIAN NAME, (b) civility title + TITLE, (c) civility title + FAMILY NAME, and (d) analytic vocative form PROSZĘ + civility title.

Observed contrasts seem to have two different origins: (1) actual differences between the Polish and French address systems, and (2) the translator’s choice of a strategy which favours the emergence of deviations. We also propose a refl ection on the potential effects which the gaps between translated texts and genuine literature seen as the norm can have on the Polish reader.

 

François-Ronan Dubois, « Le transfert intersémiotique et l’altérité culturelle : examen des cinq longs-métrages consacrés à La Princesse de Clèves (Delannoy, Oliveira, Zulawski, Honoré et Sauder) », 103-111

HOW INTERSEMIOTIC TRANSLATION REVEALS CULTURAL OTHERNESS : A STUDY OF FIVE FILMS DEVOTED TO LA PRINCESSE DE CLÈVES (DELANNOY, OLIVEIRA, ZULAWKI, HONORÉ AND SAUDER)



This paper focuses on five films, produced from 1961 to 2011 and related to the 1678 La Princesse de Clèves. It seeks to uncover in four of these films a patrimonial discourse, which can be understood as a production of a culturally hegemonic social class. The fifth film offers a more complex set of discourses, where this cultural hegemony is challenged. It raises the issue of the survival of a classical text in a modern multicultural community.

 

Matteo Martelli, « I rumori di fondo: alterità e forme di conoscenza da Il poema dei lunatici a La voce della luna », 113-121

OTHERNESS AND FORMS OF KNOWLEDGE FROM IL POEMA DEI LUNATICI TO LA VOCE DELLA LUNA



The study suggests an analysis of the transfer from the novel of Ermanno Cavazzoni, Il poema dei lunatici, into the Federico Fellini’s last film, La voce della luna, and shows how the film receives and develops the narrative pathways of the book. Particularly, the essay focuses on the topics of knowledge processes and cultural otherness of characters to remark, considering Fellini’s way of dealing with adaptation, how the rewriting practice interprets and deepens the basic themes of novel.

 

Anna Maziarczyk, « Novélisation comme traduction intersémiotique : Cinéma de Tanguy Viel », 123-130

NOVELISATION AS INTERSEMIOTIC TRANSLATION: CINEMA BY TANGUY VIEL



In the epoch of the often declared decline of literature, which is moving away from print, considered to be an obsolete medium, and trying to find its place in new media, Tanguy Viel, against these tendencies, undertakes a transposition from the visual to the verbal. His novel, not accidentally entitled Cinéma, is one of the most original examples of novelisation, a process involving an intersemiotic translation of visual codes into verbal signs. In contrast to typical novelisations, which are usually an element of commercial exploitation of a particular film’s popularity, Cinéma consists in an artistic transfer of a film to a literary text. Basing on theories of novelisation, this article seeks to demonstrate how Tanguy Viel uses words and narrative techniques to verbalise and narrativise a film.

 

Agata Rola, « Transfert interlinguistique et intersémiotique d'Oscar et la dame rose d'Éric-Emmanuel Schmitt: Dieu aux yeux d'un jeune malade », 131-139

INTERLINGUAL AND INTERSEMIOTIC TRANSLATION OF OSCAR AND THE LADY IN PINK BY ÉRIC-EMMANUEL SCHMITT: GOD SEEN BY A YOUNG PATIENT



Oscar and the Lady in Pink is the most frequently adapted narrative by Éric-Emmanuel Schmitt. In Poland, the first performance was made based on the translation by Barbara Grzegorzewska published in 2004. First, the paper focuses on the image of God in the original text. Then, we compare his image in the French and Polish text of the narrative. Finally, we pass to the analysis of the image of God in the Polish theatrical adaptation by Anna Augustynowicz. We look at the Polish translation by Grzegorzewska and at the text and others theater signs proposed by the performance director.

 

Renata Bizek-Tatara, « Le thème du double dans L’histoire exécrable d’un héros brabançon de Jean Muno », 141-148

THE THEME OF DUALITY IN L’HISTOIRE EXÉCRABLE D’UN HÉROS BRABANÇON BY JEAN MUNO



The theme of duality, omnipresent in the writing of Jean Muno, is particularly discussed in the novel L’histoire exécrable d’un héros brabançon. The duality has various features and appears in various layers, beginning with the composition of characters, spatio-temporal dimension, narration and the language. This theme is inseparably connected with the recurrent motive of absence of personal and national identity (la belgitude).

 

Maria Papadima, « Se raconter dans une langue qui est presque la sienne », 149-157

NARRATED IN A LANGUAGE THAT IS NOT ONE’S OWN



This study focuses on authors who have chosen French as their language of expression, seeming, at least at first glance, to have turned their backs on their mother tongue. Two women authors are under scrutiny here, the Greek Blanche Molfessis and the Lebanese Vénus Khoury-Ghata, whose viewpoints intersect with Nancy Huston’s and Claude Esteban’s reflections on bilingualism.

Each author’s knowledge of the French language, which derives from their own personal history — often following the course of History — seems to function as a mirror of the soul. It is a language of detachment and freedom, which ventures to articulate and elucidate the hidden childhood experiences and the recollection of the anguish of an unhealed wound. 

These two women writers do no write “French” but “in French”, in their own French language, which carries the visible marks of the other language, the other culture, the other country, or, in short, the Other which is at the origin of the “littérature-monde”.

 

Victoire Feuillebois, « Dialogisme et interprétation dans la fiction à récit-cadre romantique », 159-167

DIALOGISM AND INTERPRÉTATION IN RUSSIAN ROMANTIC FRAME NARRATIVES



Since the first conceptualizations of polyphony and dialogism by Mikhail Bakhtine, Romantic literature has usually been excluded from the field opened by the Russian critic: according to him, this literature exemplifies a monologic attitude towards the composition of the text, where the voice of the author is always in control and completely closed to any other source of language except the transcendant link stimulated by prophetic speech. But Romantic literature, and especially Russian Romantic literature, offers a rich corpus of fictions in dialogue, in which we can read an intuition of the polyphonic quality of every linguistic act. Though these texts are often read as non-dialogic, this paper attempts at taking a new look at them, through the question of interpretation and its connection to dialogism. I aim at showing that, far from being monologic structures disguised in a dialogic form, they display a dialogic conception of speech, where the focus is on the exchange between locutors around an essentially ambiguous and plural speech act, rather than on the fetichization of the author’s voice or the ideologic unity of the text presented.

 

III. COMPTES-RENDUS

 

Stefan Kaufman, « Wyrazy francuskiego pochodzenia we współczesnym języku polskim, par Anna Bochnakowa (réd.), Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2012 », 171-173

Witold Ucherek, « Les dictionnaires et l’emprunt. XVIe-XXIe siècle, dir. Agnès Steuckardt, Odile Leclercq, Aïno Niklas-Salminen et Mathilde Thorel, collection Langues et langage, Publications de l’Université de Provence, Aix-en-Provence 2011 », 173-175

 

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Romanica Wratislaviensia XLI - "Mélanges de langue et de littérature offerts au Professeur Józef Heistein"

Romanica Wratislaviensia LXI - Histoire et littérature: le roman historique de Madame de la Fayette à Laurent Binet: 

 

Romanica Wratislaviensia LXI

Histoire et littérature: le roman historique de Madame de la Fayette à Laurent Binet

Rédactrice du volume: Helena Duffy

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2014

(Acta Universitatis Wratislaviensis Nr 3557)

 

 

Table des matières

 

Helena Duffy, « Présentation », 7-11

Maja Pawłowska, « Les conceptions du roman et de l’histoire : au début du XVIIe siècle et dans la « Querelle sur La Princesse de Clèves » », 13-20

 

 

THE CONCEPT OF THE ROMANCE NOVEL AND OF THE HISTORICAL AT THE BEGINNING OF THE SEVENTEENTH CENTURYAND IN THE DEBATE ABOUT THE PRINCESS OF CLEVES

 

In the seventeenth century the romance novel and the historical had not yet become clearly defined genres and still shared many characteristics. It was a frequent practice for authors of romance novels to present them as true, historically-based stories. The aim of such a practice was to raise the status of a genre which had not been recognised by the critics and whose poetics did not reach back to Antiquity. The question of the confusion between the romance novel and the historical was raised in the discussion between Jean-Baptiste Trousset de Valincour, one of the detractors of The Princess of Cleves, and Jean-Antoine de Charnes, the novel’s advocate. In Valincour’s view, the romance novel should be thematically related to the historical. Conversely, de Charnes separates the two genres, arguing that each of them has a different role: while the historical has a didactic function, the romance novel is meant to entertain.

 

 

Monika Kulesza, « Entre la morale, la galanterie et le burlesque : la nouvelle historique dans les années soixante-dix du XVIIe siècle », 21-32

 

 

BETWEEN MORALITY, GALLANTRY, AND BURLESQUE: THE HISTORICAL SHORT STORY IN THE SEVENTIESOF THE SEVENTEENTH CENTURY

 

Using as examples Dom Carlos by Saint-Réal (1672), Les Annales galantes by Mme de Villedieu (1670) and Le Prince de Condé by Edme Boursault (1675), in the present article I discuss three aspects of 17th-century historical short stories: the role of the moral lesson they teach, gallantry and burlesque. I demonstrate that the authors of historical short stories attempt to reinterpret historical events and mix historical facts with fiction, while making references to the times they lived in. Historical short stories, by no means, describe ancient history; rather, they present contemporary events under historical guise. Their moral message is universal as these stories portray human nature and social vices. Ironic humour and burlesque, which underscore importance of this message, are popular with readers and make the work carry the intended message in a clear way. The variety of forms of these short stories opens up the path for new subgenres of the novel, namely for the psychological novel and for the novel of manners.

 

 

 

Abderhaman Messaoudi,  « Voltaire et le roman historique », 33-43

 

 

VOLTAIRE AND THE HISTORICAL NOVEL

 

The article takes as a starting point the well-known hesitations of and even disagreements among critics regarding the classification of Voltaire’s works. The category of historical novel helps here to foster a discussion about genres by positing Voltaire’s case as one that is both exemplary and problematic. His case is therefore related to and underlined by the recently renewed interest in questions regarding the historical novel as well as the links between literature and history in general. In this respect, the highly heuristic quality of Voltaire’s works can all the more help us to explore new paths in both fields.

 

 

 

Anna Kaczmarek, « Entre l’histoire et le mythe : la Cour des Miracles dans Notre-Dame de Paris de Victor Hugo et Le Parfum de Patrick Süskind », 45-60

 

 

BETWEEN HISTORY AND MYTH: THE COURT OF MIRACLES IN VICTOR HUGO’S THE HUNCHBACK OF NOTRE-DAME AND PATRICK SÜSKIND’S PERFUME

The Court of Miracles, slum districts of Paris, was the refuge for thieves, criminals, prostitutes and false beggars who faked injuries and diseases to solicit people for money. The phenomenon of this ‘society of outlaws’ inspired many authors and artists. In Victor Hugo’s The Hunchback of Notre-Dame and Patrick Süskind’s Perfume, the Court of Miracles becomes not only a geographical, historical and social reference, as required in historical novels, but also a mythical space, involving rich symbolism and fulfilling a special function in the two novels’ action.

 

 

Agata Sadkowska-Fidala, « De l’histoire au roman : Barbey d’Aurevilly ou « l’histoire qui ne s’écrit pas » », 61-74

 

 

FROM HISTORY TO THE NOVEL: THE WORKS OF BARBEY D’AUREVILLY OR ‘AN UNWRITTEN HISTORY’

 

History is very important in Barbey d’Aurevilly’s literary work. One can feel enormous nostalgia for the past in his novels, even those which are not typically historical. The French Revolution of 1789, the Chouan movement and the nobility are recurring themes which fascinate and inspire the novelist. Barbey willingly draws on history, but he chooses historical facts with the aim of modifying them according to his wishes. His novels are not a faithful transcription of the past: they rewrite history, which eventually becomes a myth and is placed in a world where symbolic and supernatural dimension is by far more important than reality. Expressing the novelist’s philosophy of history, his novels become a sort of poems woven on the canvas of history.

 

 

 

Sophie Guermès, « La fable documentaire : Zola et l’Histoire », 75-85

 

 

THE DOCUMENTARY FABLE: ZOLA AND HISTORY

 

In The Rougon-Macquart Emile Zola uses History as a framework for his cycle of novels. However, rather than in following the chronological order or in recounting the major events of the Second Empire, Zola is mainly interested in criticising the period in question. Referring to the reign of Napoleon III as a ‘closed circle,’ he strives to show that History repeats itself and that it has no meaning. In his last series, The Gospels, Zola precisely tries to recapture this meaning by underscoring the progress of humanity. But while history holds an important place from The Fortune of the Rougons through The Downfall to Rome, we must not forget that the novelist’s method also resembles that of a historian as both use documents which they select according to their importance and which they integrate into their discourse. Thus, the novel remains a ‘fable,’ that is to say, fiction, though it is still a documentary fable that guarantees its own historical veracity.

 

 

 

Magdalena Zdrada-Cok, « L’Histoire berbère d’après J.M.G. Le Clézio et Tahar Ben Jelloun », 87-97

 

 

THE BERBER STORY IN THE NOVELS OF J.M.G. LE CLÉZIO AND TAHAR BEN JELLOUN

 

The article offers a comparative analysis of Désert (1980) by J.M.G. Le Clézio and La Prière de l’absent (1981) by Tahar Ben Jelloun. It concentrates on the ways of presenting Ma el Aïnine, the charismatic leader of the anticolonial uprising in the Southern Morocco (1909–1912), and strives to demonstrate that both works recast the story in the contemporary context. By doing so, the two authors can stress the similarities between the period of the colonial domination and the postcolonial era, and to engage in socially engaged writing that addresses issues such as minority cultures, immigration and social exclusion.

 

 

 

Joanna Jakubowska-Cichoń, « La mise en récit de la Grande Guerre : remarques sur l’instance narratrice dans Un long dimanche de fiançailles de Sébastien Japrisot », 99-108

 

 

PUTTING THE GREAT WAR INTO THE NARRATIVE: SÉBASTIEN JAPRISOT’S A VERY LONG ENGAGEMENT

 

This article is devoted to the study of Sébastien Japrisot’s novel Un long dimanche de fiançailles (A Very Long Engagement) that belongs to the current of literature denouncing the military authorities’ abuses during the First World War. The article concentrates on the novel’s narrative devices, especially on the relations between the narrator and the protagonist’s discourse, with the intention to demonstrate that the narrator voluntarily renounces his enunciative authority, thus sharing the protagonists’ value system. In the context of the topical tendency to question the Great War’s events, the narrator’s egalitarian attitude seems eloquent, in that it legitimates the discourse that condemns the very notion of authority.

 

 

Anna Maziarczyk, « Une inquiétante puissance du blanc. L’écriture lazaréenne dans Dora Bruder de Patrick Modiano », 109-120

 

 

THE DISTURBING POWER OF WHITENESS: LAZARIAN WRITING IN PATRICK MODIANO’S DORA BRUDER

Mondiano’s novel Dora Bruder belongs to the contemporary works of fiction which, evoking traumatic events, explore the Holocaust in order to revisit the painful heritage of History. Trying to reconstruct the lost memory and to bring back to life people who perished during the war, Modiano’s text embodies Lazarian characteristics of a narrative. Faced with the impossibility of representing the tragic events, Modiano resorts to the Barthesian ‘white writing’: he rejects lyrical agitation and aims at the stylistic simplicity of a transparent, impersonal voice dryly reporting the facts. Abandon ing sophisticated narrative structures in favour of a collage of authentic documents, he endows his text with elements of a non-literary style: the novelistic intensity of Dora Bruder is shaped precisely by the rejection of narrative mechanisms of the genre. On the level of textual composition Mondia-no’s novel thus reflects the theme of annihilation that it explores.

 

 

 

Helena Duffy, « Une histoire vraie : La Terre et le ciel de Jacques Dorme d’Andreï Makine comme exemple de métafiction historiographique », 121-137

 

 

A TRUE STORY: ANDREÏ MAKINE’S LA TERRE ET LE CIEL DE JACQUES DORMEAS AN EXAMPLE OF HISTORIOGRAPHIC METAFICTION

 

The article deals with Andreï Makine’s eighth novel which simultaneously tells two stories: that of the eponymous French pilot dead on the Soviet soil during World War II and that of the narrator’s quest for a paternal figure. Highly self-reflexive and set in the past, La Terre et le ciel de Jacques Dorme can be potentially considered a historiographic metafiction, as Linda Hutcheon defines the most flagrant manifestation of postmodern literature. However, even if the story of the novel’s narrator defies chronology, is scattered with metafictional remarks and is fragmented, that of Jacques Dorme is a classical historical novel. I therefore argue that the chapters retracing the pilot’s service in the Red Army serve as a remedy against the sense of discontinuity marking the life of the narrator who grapples with his double non-belonging caused by, firstly, his orphanhood, and, secondly, the collapse of two empires, the Soviet and the French one.

 

 

 

France Grenaudier-Klijn, « Savoir historique et fiction romanesque : HHhH de Laurent Binet ou les travers du « je » narratif », 139-148

 

 

HISTORICAL KNOWLEDGE AND LITERARY FICTION:HHhH OR THE SHORTCOMINGS OF THE NARRATING I

 

Towards the end of HHhH (2009) the narrator, who has long hesitated on the labelling of his text –– ‘my book about Heydrich’; ‘my little book on Heydrich’; ‘my story’; ‘my novel’ –– comes to the following conclusion: ‘I think I’m starting to understand: I’m writing an infranovel.’ This generic designation encapsulates Binet’s objective: to depict historical truth (the assassination of the Nazi dignitary Reinhard Heydrich in Prague on 27 May 1942) with the stylistic tools of creative fiction, but without the recourse to invention. Is Binet successful or is the historical episode reported in HHhH reduced to a space of substitution for an aesthetic exercise, to a mere pretext? This article proposes to analyse Binet’s ‘infranovel’ in light of the place of the narrating I in a historically-informed work of fiction. The article will focus in particular on the numerous authorial interventions that are designed to turn the reader into a witness of Binet’s earnestness, and will consider the legit-imacy of the self-aware narrating I in (metafictional) historiography.

 

 

 

COMPTES-RENDUS

 

Anca-Andreea Chetrariu, « Nouveaux éclairages sur la retraduction : de la réflexion vers le travail critique », 151-154

 

Przemysław Dębowiak, « Invitation aux études diachroniques. Présentation d’une revue », 154-155

 

 

Elżbieta Skibińska, « La postérité de Don Quijote ou la pseudo-traduction entre théories et pratiques », 155-158

 

 

Regina Solová, « Autour de l’éthique de l’interprète en situations extrêmes », 158-160

 

 

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Romanica Wratislaviensia XLII

Romanica Wratislaviensia LXII - "Noms propres : mode(s) d'emploi": 

Romanica Wratislaviensia LXII

Noms propres : mode(s) d'emploi

Rédactrices du volume: Monika Grabowska et Natalia Paprocka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2015

(Acta Universitatis Wratislaviensis Nr 3637)

 

Table des matières

  

Monika Grabowska, Natalia Paprocka, Présentation, 7-9

 

Monika Grabowska, « Le prénom en cours de français ― exemple du film Entre les murs de Laurent Cantet  », 11-35

 

FIRST NAMES IN A FRENCH CLASS — ANALYSIS OF THE INTERACTIONS IN THE FILM ENTRE LES MURS BY LAURENT CANTET



The paper focuses on the use of first names in the school interactions shown in the French film Entre les murs. We consider these interactions as authentic ones because of the spirit in which the film was made: the screenplay (based on the novel by François Bégaudeau who is a co-writer of the screenplay, the actor playing the teacher and a real-life French teacher) was conceived as a general frame implying the improvisation of all the interactions by non-professional actors (pupils of a high school in Paris). We can assume that the class represented in the film reflects a typical French class, with its ethnic and multicultural origins of the pupils visible in their first names. Furthermore, the screenplay and the novel were also published which made it possible to compare three versions of the same interactions (narrated in the novel, outlined in the screenplay and played in the film). 

The analysis of the interactions was led according to three approaches designed to highlight the functions of first names in the French class: 1) first name used as a proper name, 2) semantic and cultural values of the first names, 3) first name as an address form.

 

Marcin Jakubczyk, « Les choronymes français relatifs aux régions de Pologne (XVIIᵉ et XVIIIᵉ siècles) », 37-48

 

FRENCH CHORONYMS RELATING TO REGIONS OF POLAND (17TH- AND 18TH-CENTURY) 



This paper presents the French 17th- and 18th-century choronyms relating to regions of Poland, e.g.: Mazovie, Silésie, Warmie/Varmie, etc. The study is based on acollection of maps and bilingual, multilingual and geographical dictionaries of this era. The analysis of the development of foreign toponyms in French is based on onomastic and etymological criteria. The toponymic material is included in the form of ahistorical and etymological dictionary. It appears that the majority of French geographical names relating to Poland are calques (e.g. La Grande Pologne) or adaptations (e.g. Cujavie, Podlachie). In addition, two French contemporary names relating to the same region and borrowed from Polish (Spisz) and Slovak (Spiš) forms are discussed.

 

Agnieszka Konowska, « Quelques aperçus des emplois dysphémiques des noms propres servant de base aux palimpsestes verbo-culturels », 49-61

 

SOME INSIGHTS ABOUT DYSPHEMIC USES OF PROPER NAMES AS ABASIS FOR VERBO-CULTURAL PALIMPSESTS



The aim of this paper is to analyze dysphemic uses of complex proper names which serve as a basis for the creation of what Robert Galisson (1994, 1995, 2000) called “palimpsestes verbo-culturels” (verbo-cultural palimpsests). We consider proper names as fixed sequences which can undergo the process of “défigement” (deconstruction) in the same way as any other complex lexical unit. We analyze the reasons for the creation of what we call “palimpsestes verbo-culturels propriels” (proprial verbo-cultural palimpsests) as well as the effects of meaning produced due to this creation and the means which make it possible. 

 

Natalia Paprocka, « Les titres traduits et les contraintes extratextuelles qui pèsent sur leur choix. Sur l’exemple des traductions polonaises de la littérature de jeunesse française », 63-84

 

TRANSLATED TITLES AND EXTRATEXTUAL FACTORS DETERMINING THE CHOICE OF THE TITLES. BASED ON THE EXAMPLE OF POLISH TRANSLATIONS OF FRENCH YOUTH LITERATURE



This paper deals with translated titles of about 1500 Polish editions corresponding to nearly 400 French youth literature works published in Poland over aperiod of nearly one century (1918–2014). Titles have been analyzed in an extratextual perspective, i.e. from the point of view of text-external factors which may have an influence on the choice or the final formulation of the translated title.

(1) We focus first on the time factor which implies changes of trends in the way two title elements are treated: (1.1.) title structure, and (1.2.) some proper names included in the translated titles.

(2) Secondly, we analyse retranslation and reprint, two factors which are closely linked with the introduction of changes in the translated titles. For this purpose, we review (2.1.) the frequency and conditions of transformation of the translated titles, and (2.2.) their causes. 

(3) Thirdly, we analyse some motivations for the choice of translated titles linked with the processes of seriality. Two situations are observed: (3.1.) the publisher of the translation follows the same strategy as the publisher of the original, or (3.2.) he prepares his own independent strategy. 

 

Regina Solová, « Les noms propres et les normes de traduction. Sur l’exemple des noms de juridictions civiles françaises et polonaises traduits par les candidats à la profession de traducteur assermenté », 85-101

 

PROPER NOUNS AND NORMS IN TRANSLATION. EXAMPLE OF THE TRANSLATION OF NAMES OF FRENCH AND POLISH CIVIL COURTS BY THE CANDIDATES FOR THE PROFESSIONOF A SWORN TRANSLATOR



The aim of this article is to analyze how the names of civil courts are treated in the examination tests for sworn translator candidates in Poland. The analysis is an attempt to distinguish useful norms for the evaluation of the translations performed during the tests. These norms could also be helpful as didactic support for future translators.

Official benchmarks for the evaluation of the exams are presented only in a ministerial order, i.e. in a document which, by nature, remains very general. The only objective way do identify the actual criteria applied by the examination boards is to analyze the results of their evaluation of the examination papers. 

The analysis of about sixty examination papers for the French-Polish language pair shows that implicit norms for the translation of French and Polish names of civil courts are often less stringent than those explicitly set out in the published benchmarks for translators. But sometimes, the evaluation board does not accept solutions which comply with the norms of the Code of Sworn Translator (the main manual for translators), or the same solution is evaluated differently by the board members. These inconsistencies could be eliminated by entrusting the correction of each paper to two evaluators and forcing them to consult on the evaluation mode before correcting.

The analysis of the results of the evaluation does not allow setting norms that could be used in the guides for the candidates to the profession of a sworn translator, because the evaluation system is deficient.

Our analysis confirms the assumptions of the authors who, on the basis of available data, but without access to corrected examination papers, expressed doubts as to the correctness of the examination. Their assumptions concerning, among others, the development and publication of information on the translation strategy (strategies) expected by the examination boards and on the details of the scoring system, remain known.

 

Anna Stopa-Piwowarczyk, « Les Trente Glorieuses à l’ombre de la Tour Eiffel ― noms propres et périphrases en français contemporain », 103-110

 

LES TRENTE GLORIEUSES À L’OMBRE DE LA TOUR EIFFEL — PROPER NAMES AND PERIPHRASIS IN MODERN FRENCH



This article portrays the matter of the proper names in the French periphrasis, e.g. anthroponymy: le mot de Cambronne, toponymy: la Venise du Nord, mythological name: l’oiseau de Vénus, biblical name: la fille d’Ève, eponymy: les colonnes vespasiennes, historical proper name: la Grande Guerre. The first part includes an analysis of periphrastic structures with proper names as components of an expression. The second part presents the use of proper names in metonymical and metaphorical constructions. Our analysis considers the following problems: the frame of reference, figurative meaning, connotation of the proper names in periphrasis. We also show the role of the knowledge of the world and stereotypes in the understanding and interpreting of this kind of expressions. The conclusion indicates what type of periphrasis can become a proper name.

 

Witold Ucherek, « Les unités phraséologiques relatives à la France et aux Français dans les dictionnaires polonais », 111-135

 

PHRASEOLOGICAL UNITS RELATING TO FRANCE AND FRENCHMEN IN THE POLISH DICTIONARIES



The paper deals with Polish phraseological units containing the toponymic name Francja (‘France’) and the adjective francuski (‘French’), derived from the ethnic name Francuz (‘Frenchman’), found in twenty dictionaries of modern and ancient Polish. The corpus includes about fifty general and specialised collocations and idioms, which are basically described from the perspective of their lexicographic treatment. Besides, some of those units belong to thematic fields such as cooking, fashion or love, and present French people as delicate and elegant, which coincides with their contemporary perception in Poland.

 

COMPTES-RENDUS

 

Anna Bochnakowa« Participe passé encore une fois débattu » (Le Participe passé entre accords et désaccords, sous la direction de Fabrice Marsac et Jean-Christophe Pellat, Strasbourg, Presses universitaires de Strasbourg, 2013), 139-141

 

Jadwiga Cook« Traduction dans une agence de presse comme moteur d’évolution de la syntaxe » (Syntactic Borrowing in Contemporary French. A Linguistic Analysis of News Translation, par Mairi McLaughlin, London, Modern Humanities Research Association and Maney Publishing, 2011), 141-143

 

Justyna Łukaszewicz« Y a-t-il une spécificité féminine en traduction? » (Des femmes traductrices. Entre altérité et affirmation de soi, sous la direction d’Andrée Lerousseau, Paris, L’Harmattan, 2013), 143-146

 

Natalia Paprocka« La "Cendrillon des Cendrillons" polono-italienne : nouvelle revalorisation des traductions pour la jeunesse (Przekłady w systemie małych literatur. O włosko–polskich i polsko–włoskich tłumaczeniach dla dzieci i młodzieży, par Monika Woźniak, Katarzyna Biernacka-Licznar et Bogumiła Staniów, Toruń, Adam Marszałek, 2014), 146-151

 

Witold Ucherek« Pour un véritable dictionnaire de traduction (Od przekładu do słownika. Korpus równoległy w redakcji słowników tłumaczeniowych, par Dariusz Bralewski, Łask, Oficyna Wydawnicza LEKSEM, 2012), 151-155

 

Wszystkie artykuły z tomu 62. można pobrać ze strony WUWr.

Romanica Wratislaviensia LXIII

Romanica Wratislaviensia LXIII: 

Mots en listes : usages et fonctions
Rédacteurs du volume: Joanna Jakubowska et Witold Ucherek
Wydawnictwo Uniwersytetu Wrocławskiego
Wrocław 2016
 
Table des matières
Présentation (Joanna Jakubowska et Witold Ucherek)
 
Anna Bochnakowa, Les mots français dans le Waaren Lexicon de Ph.A. Nemnich (fin du XVIIIe siècle)

FRENCH VOCABULARY IN WAAREN LEXICON BY PH.A. NEMNICH(END OF THE 18th CENTURY)

The article is a description of French vocabulary included in the multilingual dictionary of merchandise from the 18th century entitled Waaren-Lexicon in zwölf Sprachen by Ph.A. Nemnich. The examples were taken from the French-German part of the publication to illustrate the contents and principles of the lexicon. The presented dictionary is a valuable testimony of multilingual vocabulary in the field of merchandise, but above all an example of a pioneering, comprehensive dictionary of technical language, used in a specific occupational field.

 
Estèle Dupuy, Corinne Féron, Contribution à l’étude diachronique du vocabulaire relatif au son — remarques sur la traduction du livre V du De architectura de Vitruve par Jean Martin (1547)

CONTRIBUTION TO THE DIACHRONIC STUDY OF THE VOCABULARY RELATED TO SOUND: REMARKS ON JEAN MARTIN’S TRANSLATION (1547) OF THE FIFTH BOOK OF DE ARCHITECTURA BY VITRUVIUS
Our study tries to precise the signification of words which were used to speak about sound in technical, scientific or practical texts since these words were apprehended only through literary source in ancient and modern dictionaries. This paper deals with lexical choices made by Jean Martin in his translation of De Architectura of Vitruvius, which is the first French translation (1547). This translation has been followed by several other translations (including those by Claude Perrault, Charles Maufras, Catherine Saliou). We focused on three terms: loquence and barbotement, which are products of an interpretation of Vitruvius’ text, and resonance, which, in Martin’s meaning, is a product of a semantic change.

Kaja Gostkowska, Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs

HOW TO MASTER THE ABUNDANCE OF COLOURS ON THE PAINTER’S PALETTE, OR A STEP TOWARDS THE TERMINOLOGICAL LIST OFTERMS RELATED TO COLOURS
Colour as a subject has led to numerous studies in various disciplines (such as physics, psychology, chemistry or history of art, to name a few). In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.

 
Monika Grabowska, Les dictionnaires dans l’apprentissage du FLE en Pologne: état des lieux

USE OF DICTIONARIES IN TEACHING FRENCH AS A FOREIGN LANGUAGE IN POLAND: BASELINE STUDY
The paper focuses on the use of the dictionaries in the context of French as a foreign language in Poland. We assume, according to the Common European Framework and some other theoretical studies, that a dictionary is not only a learning tool but also a text which implies strategies of use. Consequently we consider that the learners should be provided with full-fledged dictionary skills which would make them able to explore the totality of linguistic and cultural richness of a dictionary. Unfortunately, we can prove that the use of dictionaries (particularly the monolingual ones) is not frequently integrated as a didactic goal in the French handbooks. Eventually, the analysis of 133 students’ surveys highlights some of the shortcomings and deficiencies in their practice of monoligual dictionaries. Their linguistic biographies emphasize the need of teaching advantages and disadvantages of different kinds of dictionaries and the special features of their micro- and macrostructure.

 
Alicja Kacprzak, La veille néologique en tant que démarche à visée lexicographique: exemple de l’emprunt récent à l’anglais en français et en polonais

VEILLE NÉOLOGIQUE AS A LEXICOGRAPHIC APPROACH. ILLUSTRATED BY THE EXAMPLE OF NEW BORROWINGS FROM ENGLISH TO FRENCH AND POLISH
The article presents one of the relatively new approaches of lexicological registration and elaboration on neologisms (so called veille néologique, i.e. neological watch). As an example we will present an international project, EMPNEO, which aims to research the spreading of new borrowings, most frequently from English, to some selected languages.

 
Tomasz Szymański, Le dictionnaire comme champ de lutte idéologique : les idées de religion naturelle et de religion universelle dans les dictionnaires du siècle des Lumières (1764–1775)

THE DICTIONARY AS AN IDEOLOGICAL BATTLEFIELD: NATURAL RELIGION AND UNIVERSAL RELIGION IDEAS IN THE DICTIONARIES OF THE AGE OF ENLIGHTENMENT (1764–1775)
The article is a reflection on the dictionary as an ideological battleground illustrated with the example of thematic dictionaries or encyclopedias of the Age of Enlightenment. The perspective of the study is philosophical and religious, centred on the ideas of natural and universal religion as elements of conflicting worldviews. We will discuss the controversy surrounding the Philosophical Dictionary by Voltaire, who was attacked by Catholic clergymen such as Chaudon, Paulian, François or Nonnotte.

 
Witold Ucherek, Les listes de noms propres dans les dictionnaires généraux polonais-français et français-polonais

LISTS OF PROPER NOUNS IN POLISH-FRENCH AND FRENCH-POLISH GENERAL DICTIONARIES
The paper deals with the lists of proper names found in 22 Polish-French and/or French-Polish dictionaries out of the 45 dictionaries investigated, including dictionaries of different sizes published over the last 150 years. The lists most often include geographical names, gentilics and first names. A popular practice is to include certain items in the main body of the dictionary and to list other items in appendices; sometimes, these two sets of proper names overlap, which is incoherent. In addition to the quite evident information on spelling, the analysed lists may provide phonetic, grammatical, stylistic or encyclopedic data. However, the accumulation of such information, very valuable for users, transforms the lists into a succession of entries. That is why, instead of striving for originality by putting together lists of such exotic terms as Zodiac signs or celestial bodies, it would be better to incorporate proper names into the macrostructure.

 
Xinxia Wang, Vers un dictionnaire bilingue d’adjectifs qualificatifs du FLE

TOWARDS A BILINGUAL DICTIONARY OF QUALIFICATIVE ADJECTIVES FOR TEACHING FRENCH AS A FOREIGN LANGUAGE
The paper aims to think about developing a dictionary of the usual adjectives of French. This support tool for expression in French as a foreign language will focus on the semantic, syntactic, actantial and combinatorial information which usually causes the most problems in the use of adjectives. All this information will be provided in a systematic way by using some concepts of Meaning-Text Theory: lexical function, semantic derivation, semantic actant and syntactic actant, plan scheme, and so on.

 
Tomasz Wysłobocki, La Révolution française dans les dictionnaires ou les dictionnaires en révolution

THE FRENCH REVOLUTION IN DICTIONARIES: DICTIONARIES IN REVOLUTION
When the French Revolution begins, nobody seems to be prepared for such a political and social rupture. Language first tries to adapt to the changing conditions — new words appear, which is a necessity of the moment, to reflect new realities as well as to build a national community based on the same new values and symbols. At the beginning these words remain largely unknown or do not understand exactly what all the politicians debate about. Some old terms also change their conventional signification. A number of dictionaries are edited then to explain those new words to the people, as the revolutionary authorities soon realize that this must become a priority. These ref-neglected by uneducated people, especially from the bottom of the social ladder — they simply erence books show nevertheless a subjective vision of the Revolution. The aim of this article is to recount the narration of those dictionaries in, of course, a very limited perspective.

 
VARIA
Fabrice Hirsch, Fabrice Marsac, Ivana Didirkova, Marion Bechet, Mohammed Anouar Ben Messaoud, Spécificités du rythme de la parole politique. Le cas de François Hollande

RHYTHMICAL SPECIFICITIES OF POLITICAL SPEECH. THE CASE OF FRANÇOIS HOLLANDE
The aim of this article is to highlight some rhythmical specificities in political speech. In order to do so, articulation and speech rates, pauses and between-pauses within syllable groups were measured in several talks given by François Hollande. Results show variation for all the above mentioned parameters depending on the topic of the speech. Furthermore, rhythmical differences were observed between speeches and debates.

 
Agata Rębkowska, Humor w badaniach nad przekładem

HUMOUR IN TRANSLATION STUDIES
Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor (structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures), as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.

 
Ewa Warmuz, Veau — veux, bac — bague et elle a peur du feu: quelques réflexions sur la nature et l’utilisation des corpus dans les activités de phonétique proposées par les méthodes de FLE actuelles pour adultes et grands adolescents

VEAU — VEUX, BAC — BAGUE AND ELLE A PEUR DU FEU : A FEW REMARKS ON FORMS AND USING CORPORA IN PHONETIC ACTIVITIES, PROPOSED IN CURRENT MANUALS FOR FRENCH AS A FOREIGN LANGUAGE FOR ADULTS AND OLDER TEENAGERS
In this article, through the analysis of the structure of phonetic activities included in chosen textbooks of French as a foreign language (FLE) used in Poland, we present the rules according to which the corpora are built and used. We also rate the adequacy to the task-oriented approach. Next, we prove how learners perceive this type of exercises and their usefulness for the correct pronunciation. Conclusions point to a regular presence, in analyzed textbooks, of specific phonetic activities based mainly on contextualized simple sentences, connected grammatically and lexically with the textbook contents. These exercises are evaluated and rated by learners as important for the correct pronunciation, which contributes to successful communication, and as helpful in gaining additional skills and knowledge.

 
COMPTES-RENDUS
Joanna Jakubowska, Rachilde revisitée (Au carrefour des esthétiques. Rachilde et son écriture romanesque 1880–1913, par Anita Staroń, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2015)
Catherine Kiyitsioglou-Vlachou, Développement de la compétence linguistique : une valeur ajoutée pour les apprenants du FLE (Redéfinir la compétence linguistique en classe de langue. Hommage à Ludomir Przestaszewski, sous la direction de Radosław Kucharczyk et Maciej Smuk, Édition de l’Institut d’Études Romanes, Université de Varsovie, Varsovie 2015)
Przemysław Szczur, Octave Mirbeau romancier (L’art romanesque d’Octave Mirbeau. Thèmes et techniques, par Anita Staroń, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2013)
Witold Ucherek, Au coeur des dictionnaires bilingues (Le dictionnaire bilingue. Un miroir déformant?, par Dangoulė Melnikienė, Hermann Éditeurs, Paris 2013)

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