KONSTANZ UND WANDEL IN SPRACHE UND LITERATUR http://hdl.handle.net/11089/18560 2026-04-04T02:26:26Z 2026-04-04T02:26:26Z Marek, Rafał http://hdl.handle.net/11089/18584 2018-02-01T11:20:55Z 2015-01-01T00:00:00Z

Stałość i zmienność w leksykograficznej kodyfikacji wybranych niemieckich zapożyczeń leksykalnych z grupy rzeczowej „budownictwo” w „Słowniku języka polskiego” pod redakcją Witolda Doroszewskiego oraz w „Słowniku języka polskiego PWN” pod redakcją Elżbiety Sobol Marek, Rafał This article presents German loanwords in the Polish language. Its aim is twofold: to discuss words of German origin in Polish, as well as to stress Polish-German language contacts and their influences on vocabulary (a significant number of German loanwords refer to the building industry). The analysis will not only deal with the meaning and etymology of particular words, but will also scrutinize their description in the dictionaries of Polish edited by Doroszewski and Sobol.

2015-01-01T00:00:00Z Dvořák, Boštjan http://hdl.handle.net/11089/18583 2018-02-01T11:21:01Z 2015-01-01T00:00:00Z

Anetta Buras-Marciniak, Marcin Gołaszewski (Hrsg.), „Südslawen und die deutschsprachige Kultur” [= „Lodzer Arbeiten Zur Literatur- und Kulturwissenschaft”, Bd. 4], Frankfurt/M. [u.a.] 2015, 367 S. Dvořák, Boštjan

2015-01-01T00:00:00Z Pilipowicz, Andrzej http://hdl.handle.net/11089/18582 2018-02-01T11:21:01Z 2015-01-01T00:00:00Z

Diabeł w operze. „Pajac” Tomasza Manna w kontekście „Fausta” Johanna Wolfganga Goethego Pilipowicz, Andrzej The protagonist of Thomas Mann’s short story "The Clown" ("Der Bajazzo") cannot became an artist because he hasn’t got enough talent. He is also unable to live among people as an ordinary citizen because his social competencies haven’t been completely developed. That is why he can be regarded as a literary figure who tries to leave the real world and to penetrate the literary world. The devil who appears in Charles Gounod’s opera "Faust" based on Johann Wolfgang Goethe’s drama "Faust" and who is watching the protagonist from the stage during the opera performance seems to be the only person who can help him to find his existential space.

2015-01-01T00:00:00Z Thunecke, Jörg http://hdl.handle.net/11089/18581 2018-02-01T11:21:00Z 2015-01-01T00:00:00Z

„Dichtung kann, in geheimnisvoller Weise, tiefste Ohnmacht spüren lassen und letzte Macht zugleich ausüben”. Rudolf Hagelstanges Sonettenzyklus „Venezianisches Credo” (1945) Thunecke, Jörg The origin of Rudolf Hagelstange’s (1912–1984) cycle of sonnets "Venezianisches Credo" was Venice, while he was temporarily stationed in northern Italy in 1944 as a soldier. Twenty-four sonnets were written in the lagoon city, four more in Breganze, the remainder in Verona, where a limited edition was published in spring 1945, after some of the sonnets had already been distributed in military circles over some months. This contribution attempts on the one hand to analyze Hagelstange’s choice of the sonnet–form – a classical type of lyric poetry, guaranteeing tradition and continuity –, claiming that at that time sonnets had become a fashionable form of oppositional poetry; on the other hand, the content of the three dozen sonnets will be analyzed, in which, over long stretches discordance prevails. For the author initially presents a damning indictment of the criminal activities of the NS-regime, until he eventually proclaims – with reference to Schiller – that the contemporary spiritual and moral crisis can yet be overcome by an ‚other Germany‘. In the final analysis, Hagelstange brilliantly succeeded – by means of an interaction of continuity and dissonance – to merge aesthetic and ethical aspects and thereby managed to create one of the most outstanding lyrical documents near the end of World War II.

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