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Studia Neofilologiczne Vii STUDIA NEOFILOLOGICZNE VII PRACE NAUKOWE Akademii im. Jana Długosza w Częstochowie STUDIA NEOFILOLOGICZNE VII pod redakcją Przemysława Sznurkowskiego Częstochowa 2011 Recenzenci Łukasz BOGUCKI Norbert HONSZA Aleksander KOZŁOWSKI Andrzej WICHER Redaktor naukowy Przemysław SZNURKOWSKI Rada Naukowa Jan PAPIÓR Irena ŚWIATŁOWSKA-PRĘDOTA Paweł PŁUSA Bożena CETNAROWSKA Dieter STOLZ Przemysław SZNURKOWSKI Sekretarz redakcji Grzegorz GWÓŹDŹ Redaktor naczelny wydawnictwa Andrzej MISZCZAK Skład i łamanie Piotr GOSPODAREK Projekt okładki Damian RUDZIŃSKI © Copyright by Akademia im. Jana Długosza w Częstochowie Częstochowa 2011 adres strony internetowej pisma: www.ifo.ajd.czest.pl/studianeo/ ISBN 978-83-7455-236-3 ISSN 1897-4244 Wydawnictwo im. Stanisława Podobińskiego Akademii im. Jana Długosza w Częstochowie 42-200 Częstochowa, ul. Waszyngtona 4/8 tel. (34) 378-43-29, faks (34) 378-43-19. www.ajd.czest.pl e-mail: [email protected] SPIS TREŚCI LITERATURA I HISTORIA Anna WARAKOMSKA ‚Die Maske hinter den Masken’ – literarische und geistesgeschichtliche Annäherungen an das Barock ............................... 9 Przemysław SZNURKOWSKI Die Relativität der Pflichtauffassungen – die Erzählung „Das Feuerschiff“ von Siegfried Lenz .............................................................. 23 Lidia BURAKOWSKA-OGIŃSKA Mapa polskiej duszy w kreacjach eseistycznych Güntera Grassa i Horsta Bienka ..................................................................................................... 33 Justyna JAWORSKA In the Web of Words: a Reading of and around Oliver Reynolds’s „Victoriana” .......................................................................... 47 Anna CHOLEWA-PURGAŁ A glance at genre and contemporary genre theory ......................................... 57 Katarzyna MAŁECKA “Oh … and Jenkins … apparently your mother died this morning”: Monty Python’s Meaning of Death ................................................................... 77 Kasper SIPOWICZ Kapłan »rasy panów« – rzecz o Alfredzie Rosenbergu .................................. 91 PROBLEMATYKA INTERKULTUROWA Karsten DAHLMANNS Helmut Schoeck: Neid vs. Freiheit. Ein Nachtrag zur Kulturgeschichte der Bundesrepublik Deutschland ...................................................................... 105 Anna OKOŃSKA-KASPRZAK Interkulturalität – Schwierigkeiten mit Definierung ....................................... 115 Kamila MÄDGE Der Stein wurde ins Rollen gebracht. Die Hellmut-von-Gerlach-Gesellschaft und ihre Nachfolger ...................... 131 Elżbieta KORNACKA-SKWARA, Andrzej SKWARA Individualism and Collectivism as Categories in Describing Interpersonal Functioning ......................................................... 141 JĘZYKOZNAWSTWO Paweł ZAKRAJEWSKI A Letter to Shareholders as a Tool of Language Communication in the World of Global Economy ..................................................................... 155 Justyna KAROŃ English as a lingua franca and the factors affecting intelligibility of non-native speakers of English in international contexts. A brief overview of current trends and research results ................................ 169 Agata LEŚNICZEK Aviation English patterns of speech. A brief description and analysis of the aviation phraseology used in routine air-ground communication .... 179 GLOTTODYDAKTYKA Renata CZAPLIKOWSKA Von Wortschatz und Grammatik zu lexiko-grammatischen Struktureinheiten – der integrative Ansatz im Fremdsprachenunterricht .. 193 Katarzyna ROKOSZEWSKA Implementing story-based methodology in teaching foreign languages to young learners .................................................................................................. 203 Joanna LEEK John Amos Comenius – the initiator of modern language teaching and world understanding .................................................................................... 223 Agata LEŚNICZEK Supporting learning processes of pre-school children. The use of educational kinesiology in an effective learning – be the master of your mind ................................................................................ 233 PRZEKŁAD Agnieszka ADAMOWICZ-POŚPIECH O tłumaczeniu elementów „trzeciej kultury” i języka niestandardowego na przykładzie polskich wersji Lorda Jima Josepha Conrada ......................... 241 Grzegorz GWÓŹDŹ Translation studies and the polysystem theory ................................................ 257 LITERATURA I HISTORIA PRACE NAUKOWE Akademii im. Jana Długosza w Częstochowie Seria: Studia Neofilologiczne 2011, z. VII Anna WARAKOMSKA Uniwersytet Warszawski ‚DIE MASKE HINTER DEN MASKEN’ – LITERARISCHE UND GEISTESGESCHICHTLICHE ANNÄHERUNGEN AN DAS BAROCK Streszczenie W tekście podjęto próbę przybliżenia relewantnych cech baroku i zademonstrowania tekstu Herberta Rosendorfera Die Maske Hinter den Masken w odniesieniu do nich. Analiza została poprzedzona omó- wieniem dziejów epoki oraz jej ideowych źródeł. W trzech kolejnych punktach wyjaśniono ważniejsze pojęcia, przedstawiono ogólne tło historyczne i filozofię baroku. Punkt czwarty zawiera krótką analizę treści i formy szkicu Rosendorfera. W podsumowaniu zrekapitulowano wcześniejsze rozważania doty- czące cech konstytutywnych baroku i strategii prezentowania go przez Rosendorfera. Uwypuklono tu także trudno uchwytny stosunek literatury do świata pozaliterackiego. Ważną konkluzją tej części wy- daje się dostrzeżone przez autorkę powinowactwo między dynamiką barokowego stylu życia oraz formalną stroną literackich wariacji Rosendorfera. Im Horizont des vorliegenden Beitrags liegt die Erinnerung an die materielle wie auch Geistesgeschichte der Zeitspanne zwischen etwa 1600–1750 sowie Analy- se des Hörbildes von Herbert Rosendorfer Die Maske hinter den Masken1. Einerseits wird daher das Barock historisch und geistesgeschichtlich näher gebracht, ander- seits wird eine belletristische Darbietung der Epoche geboten. Der Beitrag versteht sich demzufolge als eine theoretische und gleichzeitig literarische Annäherung an das Barock, was sowohl der obige Titel, wie zum Teil auch der Untertitel der Skizze von Rosendorfer wiedergibt. Begonnen sei mit einer kurzen Erinnerung an die wichtigsten, das Zeitalter des Barock prägenden Begriffe sowie den geschichtlichen Hintergrund der Epoche. 1 Rosendorfer, Herbert: Die Maske hinter den Masken. Annäherungen an das Barock. Ein Hörbild. In: Herbert Rosendorfer: …ich gehe zu Fuß nach Bozen und andere persönliche Geschichten. München: dtv 1994. S. 99–118. 10 Anna WARAKOMSKA Demnächst wird eine kurze Präsentation der Geisteshaltung, die für die Menschen des besprochenen Zeitraums charakteristisch war, geboten. Im vierten Punkt wird die besagte Analyse durchgeführt, und schließlich erfolgt die Zusammenfassung, in der hoffentlich die früher erforschten Aspekte erlauben, auf die Beziehungen zwi- schen Literatur und außerliterarischer Welt hinzuweisen. 1. Die Begriffsbestimmung Dem Zeitalter des Barock werden, wie gesagt, zeitliche Rahmen zwischen etwa 1600–1750 gesetzt, obwohl man bemerken muss, dass diese Abgrenzung rein for- mell zu verstehen ist und, wie bei allen übrigen Kulturepochen der Weltgeschichte, nur der allgemeinen Orientierung dient2. Hilfreich erscheint in diesem Zusammen- hang eine burleske Anspielung Rosendorfers, die aus dem ersten Teil seiner Deut- schen Geschichte stammt und sich auf die Völkerwanderung bezieht. Der Autor geht hier u.a. dem problematischen Urdatum des ganzen Prozesses nach und räsoniert in sich eigenen Weise3: „Es trat nicht am 1. Januar des Jahres X ein Herold auf den Balkon der Nibelungenburg, stieß in seine Trompete und verkündete: ‚Nunmehr beginnt die Völkerwanderung! Rechts um! Marsch!‘”4. Ähnliches gilt bestimmt auch einer temporalen Demarkation des Barockzeitalters. Kunstforscher sehen z.B. den Anfang bzw. die Vorstufe der barocken Kunst bereits im ausgehenden 16. Jahr- hundert5. Einige Merkmale der einsetzenden neuen Kunstart will man bei Miche- langelo beobachtet haben und gewiss in den Werken seiner Nachahmer, die als Manieristen in die Kunstgeschichte übergegangen sind. Manierismus ist der Begriff der für eine neue Stilstufe der Kunst in der zweiten Hälfte des 16. Jahrhunderts erfunden wurde. Der Ausdruck stammt von bella maniera und wurde unterschiedlich gedeutet. Giorgio Vasari (1511–1547) – ein itali- enischer Maler, Baumeister und Kunstschriftsteller verstand darunter die den anti- ken Vorbildern folgende Kunst Michelangelos und Raffaels. Später wurde der Ma- nierismus erst den Malern der nächsten Generation zugeschrieben, also der Nach- Renaissance. Damit wären wir also bei einer Zwischenstufe zwischen dem Golde- 2 Vgl. diesbezüglich: Burckhardt, Jacob: Die Kultur der Renaissance in Italien. Wien: Phaidon Verlag o. J. S. 1; Thomas R. Hoffmann: To warto wiedzieć o sztuce. Barok. Warszawa: Świat Książki 2006. S. 6–8. 3 Über den literarischen Stil Rosendorfers vgl. Frühwald, Wolfgang: Die groteske Heiterkeit des Traumes. Zur Einführung in das literarische Werk Herbert Rosendorfers. In: Helmut Kreutzer (Hg.): Deutsche Nation. Acta Ising. München: Bayerischer Schulbuchverlag 1984. S. 107. 4 Rosendorfer, Herbert: Deutsche Geschichte. Ein Versuch, Bd. 1: Von den Anfängen bis zum Wormser Konkordat. Mit 4 Übersichtskarten und 3 Stammtafeln. München: dtv 2004. S. 39. 5 Vgl. Braun, Heinrich: Formen der Kunst. Eine Einführung in die Kunstgeschichte. München: Ver- lag Martin Lurz 1969. S. 232. Die Bedeutung des Jahres 1600 für die Weiterentwicklung der Kunst und der europäischen Kultur hat jedoch deutlich Tatarkiewicz unterstrichen.
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