Acta Universitatis Lodziensis. Folia Germanica 11KONSTANZ UND WANDEL IN SPRACHE UND LITERATURhttp://hdl.handle.net/11089/185602024-03-29T12:04:46Z2024-03-29T12:04:46ZStałość 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 SobolMarek, Rafałhttp://hdl.handle.net/11089/185842018-02-01T11:20:55Z2015-01-01T00:00:00ZStałość 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.
2015-01-01T00:00:00ZAnetta 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, Boštjanhttp://hdl.handle.net/11089/185832018-02-01T11:21:01Z2015-01-01T00:00:00ZAnetta 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
2015-01-01T00:00:00ZDiabeł w operze. „Pajac” Tomasza Manna w kontekście „Fausta” Johanna Wolfganga GoethegoPilipowicz, Andrzejhttp://hdl.handle.net/11089/185822018-02-01T11:21:01Z2015-01-01T00:00:00ZDiabeł 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„Dichtung kann, in geheimnisvoller Weise, tiefste Ohnmacht spüren lassen und letzte Macht zugleich ausüben”. Rudolf Hagelstanges Sonettenzyklus „Venezianisches Credo” (1945)Thunecke, Jörghttp://hdl.handle.net/11089/185812018-02-01T11:21:00Z2015-01-01T00:00:00Z„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.
2015-01-01T00:00:00Z