{"id":43130,"date":"2023-03-20T13:36:05","date_gmt":"2023-03-20T12:36:05","guid":{"rendered":"https:\/\/ifr.uwr.edu.pl\/romanica-wratislaviensia\/numery-czasopisma-romanica-wratislaviensia\/"},"modified":"2025-03-19T13:07:22","modified_gmt":"2025-03-19T12:07:22","slug":"numery-czasopisma-romanica-wratislaviensia","status":"publish","type":"page","link":"https:\/\/ifr.uwr.edu.pl\/en\/romanica-wratislaviensia\/numery-czasopisma-romanica-wratislaviensia\/","title":{"rendered":"Archive issues"},"content":{"rendered":"\n<div class=\"alignfull wp-block-ugb-container ugb-container bs-konferencje-akordeony ugb-12c4a27 ugb-container--v2 ugb-container--design-plain ugb-main-block\"><style>@media screen and (min-width:768px){.ugb-12c4a27.ugb-container{margin-bottom:0px !important;padding-right:0px !important;padding-bottom:50px !important;padding-left:0px !important}}@media screen and (min-width:768px){.ugb-12c4a27 > .ugb-inner-block > .ugb-block-content > *{padding-top:0px !important;padding-bottom:0px !important;padding-right:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-container__wrapper ugb-12c4a27-wrapper\"><div class=\"ugb-container__side\"><div class=\"ugb-container__content-wrapper ugb-12c4a27-content-wrapper\">\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top is-image-fill bs-naglowek-szablonu-kolumny\"><figure class=\"wp-block-media-text__media\" style=\"background-image:url(https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-1024x498.jpg);background-position:50% 50%\"><a href=\"https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-scaled.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"498\" src=\"https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-1024x498.jpg\" alt=\"Tekst ksi\u0105\u017cki\" class=\"wp-image-34047 size-full\" srcset=\"https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-1024x498.jpg 1024w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-300x146.jpg 300w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-768x373.jpg 768w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-1536x747.jpg 1536w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-2048x996.jpg 2048w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-1320x642.jpg 1320w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-24x12.jpg 24w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-36x18.jpg 36w, https:\/\/ifr.uwr.edu.pl\/wp-content\/uploads\/sites\/246\/2023\/06\/20230601_094140-48x23.jpg 48w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/figure><div class=\"wp-block-media-text__content\">\n<div class=\"wp-block-bonasoft-modular-breadcrumbs-block\"><div class=\"bs_add_breadcrumb_trail\"><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-black-color has-css-opacity has-black-background-color has-background is-style-wide bs-border-kontakt\"\/>\n\n\n<h1 style=\"font-style:normal;font-weight:700;\" class=\"bs-naglowek-podstrony wp-block-post-title\">Archive issues<\/h1>\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/archive\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Full copies (from nr 55, 2008)<\/strong><\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Tables of contents of the archive issues (from number 51, table of contents with abstracts)<\/strong><\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-container ugb-container bs-strona-konferencje ugb-002ab8b ugb-container--v2 ugb-container--design-plain ugb-main-block\"><style>@media screen and (min-width:768px){.ugb-002ab8b.ugb-container{margin-bottom:0% !important;margin-right:6% !important;margin-left:6% !important}}@media screen and (min-width:768px){.ugb-002ab8b > .ugb-inner-block > .ugb-block-content > *{padding-top:0px !important;padding-bottom:0px !important;padding-right:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-container__wrapper ugb-002ab8b-wrapper\"><div class=\"ugb-container__side\"><div class=\"ugb-container__content-wrapper ugb-002ab8b-content-wrapper\">\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-b0898d8 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-b0898d8 .ugb-accordion__title{line-height:1em !important}.ugb-b0898d8 .ugb-accordion__arrow{fill:#ffffff}.ugb-b0898d8 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-b0898d8.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia I<\/strong> <strong>(1968)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu &#8211; Leon Zawadowski<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<\/p>\n\n\n\n<p>Wroc\u0142aw 1968<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 59)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-8531303 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-8531303 .ugb-accordion__title{line-height:1em !important}.ugb-8531303 .ugb-accordion__arrow{fill:#ffffff}.ugb-8531303 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-8531303.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong><strong><strong>Romanica Wratislaviensia II (1968): <strong>Mieczys\u0142awa Sekrecka<\/strong><\/strong><\/strong><\/strong>, <strong><strong><strong><em>Louis-Claude de Saint-Martin, le philosophe inconnu<\/em>..<\/strong><\/strong>.<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Mieczys\u0142awa Sekrecka,&nbsp;<em>Louis-Claude de Saint-Martin, le philosophe inconnu.&nbsp;L\u2019homme et l\u2019\u0153uvre.<\/em><br>Redaktor tomu \u2013 Leon Zawadowski<br>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<br>Wroc\u0142aw 1968<br>(Acta Universitatis Wratislaviensis Nr 65)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-e838b97 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-e838b97 .ugb-accordion__title{line-height:1em !important}.ugb-e838b97 .ugb-accordion__arrow{fill:#ffffff}.ugb-e838b97 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-e838b97.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong><strong><strong>Romanica Wratislaviensia III<\/strong><\/strong><\/strong> <strong>(1968)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu \u2013 Leon Zawadowski<br>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<br>Wroc\u0142aw 1968<br>(Acta Universitatis Wratislaviensis No 82)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-2375080 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-2375080 .ugb-accordion__title{line-height:1em !important}.ugb-2375080 .ugb-accordion__arrow{fill:#ffffff}.ugb-2375080 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-2375080.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong><strong><strong>Romanica Wratislaviensia IV (1969): <strong>Anna Nikliborc<\/strong><\/strong><\/strong><\/strong>, <strong><em><strong><strong>L\u2019\u0153uvre de M<\/strong><\/strong><sup>me<\/sup>de Genlis<\/em><\/strong> <\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Anna Nikliborc,&nbsp;<em>L\u2019\u0153uvre de M<\/em><sup><em>me<\/em><\/sup><em>de Genlis.<\/em><br>Redaktor tomu \u2013 Mieczys\u0142aw Klimowicz<br>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<br>Wroc\u0142aw 1969<br>(Acta Universitatis Wratislaviensis No 96)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-855185c ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-855185c .ugb-accordion__title{line-height:1em !important}.ugb-855185c .ugb-accordion__arrow{fill:#ffffff}.ugb-855185c .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-855185c.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong><strong><strong><strong>Romanica Wratislaviensia V<\/strong><\/strong><\/strong> (1970)<\/strong> <\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu \u2013 Mieczys\u0142awa Sekrecka<br>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<br>Wroc\u0142aw 1970<br>(Acta Universitatis Wratislaviensis No 117)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-8c83e40 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-8c83e40 .ugb-accordion__title{line-height:1em !important}.ugb-8c83e40 .ugb-accordion__arrow{fill:#ffffff}.ugb-8c83e40 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-8c83e40.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia VI (1971)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu \u2013 Mieczys\u0142awa Sekrecka<br>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<br>Wroc\u0142aw 1971<br>(Acta Universitatis Wratislaviensis No 140)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-95ab692 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-95ab692 .ugb-accordion__title{line-height:1em !important}.ugb-95ab692 .ugb-accordion__arrow{fill:#ffffff}.ugb-95ab692 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-95ab692.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia VII (1972)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu \u2013 Mieczys\u0142awa Sekrecka<br>Pa\u0144stwowe Wydawnictwo Naukowe<br>Wroc\u0142aw 1972<br>(Acta Universitatis Wratislaviensis No 156)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-1d2aa18 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-1d2aa18 .ugb-accordion__title{line-height:1em !important}.ugb-1d2aa18 .ugb-accordion__arrow{fill:#ffffff}.ugb-1d2aa18 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-1d2aa18.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia VIII (1972): J\u00f3zef Heistein, <em>La narrativa italiana fra le due guerre<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>J\u00f3zef Heistein,&nbsp;<em>La narrativa italiana fra le due guerre.<\/em><\/p>\n\n\n\n<p>Redaktor tomu \u2013 Mieczys\u0142awa Sekrecka<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<\/p>\n\n\n\n<p>Wroc\u0142aw 1972<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 179)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-5eca8a7 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-5eca8a7 .ugb-accordion__title{line-height:1em !important}.ugb-5eca8a7 .ugb-accordion__arrow{fill:#ffffff}.ugb-5eca8a7 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-5eca8a7.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia IX (1973)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Redaktor tomu \u2013 Mieczys\u0142awa Sekrecka<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski<\/p>\n\n\n\n<p>Wroc\u0142aw 1973<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 193)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-1e49653 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-1e49653 .ugb-accordion__title{line-height:1em !important}.ugb-1e49653 .ugb-accordion__arrow{fill:#ffffff}.ugb-1e49653 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-1e49653.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia X (1975)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Romanica Wratislaviensia X <\/p>\n\n\n\n<p>R\u00e9dacteur du num\u00e8ro \u2013 Mieczys\u0142awa Sekrecka <\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe Warszawa &#8211; Wroc\u0142aw 1975 <\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 264)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-3e4f620 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-3e4f620 .ugb-accordion__title{line-height:1em !important}.ugb-3e4f620 .ugb-accordion__arrow{fill:#ffffff}.ugb-3e4f620 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-3e4f620.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XI (1975)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteurs du num\u00e8ro \u2013 Mieczys\u0142awa Sekrecka (litt\u00e9rature) et Edmund Sikora (linguistique)<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa &#8211; Wroc\u0142aw 1975<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 265)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-7c18e82 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-7c18e82 .ugb-accordion__title{line-height:1em !important}.ugb-7c18e82 .ugb-accordion__arrow{fill:#ffffff}.ugb-7c18e82 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-7c18e82.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XII<\/strong> <strong>(1977)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteur du volume \u2013 Edmund Sikora<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa &#8211; Wroc\u0142aw 1977<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 319)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-9dc395e ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-9dc395e .ugb-accordion__title{line-height:1em !important}.ugb-9dc395e .ugb-accordion__arrow{fill:#ffffff}.ugb-9dc395e .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-9dc395e.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XIII (1977) &#8211; Aleksander Labuda, <em>Lectures des chants de Maldoror<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Aleksander Labuda,&nbsp;<em>Lectures des chants de Maldoror<\/em><\/p>\n\n\n\n<p>Redaktor tomu &#8211; J\u00f3zef Heistein<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa &#8211; Wroc\u0142aw 1977<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 376)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-4457806 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-4457806 .ugb-accordion__title{line-height:1em !important}.ugb-4457806 .ugb-accordion__arrow{fill:#ffffff}.ugb-4457806 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-4457806.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XIV (1979)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteurs du volume \u2013 Aleksander Wit Labuda (litt\u00e9rature) et Eugeniusz Ucherek (linguistique)<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa &#8211; Wroc\u0142aw 1979<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 416)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-76a7c9b ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-76a7c9b .ugb-accordion__title{line-height:1em !important}.ugb-76a7c9b .ugb-accordion__arrow{fill:#ffffff}.ugb-76a7c9b .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-76a7c9b.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XV (1979) &#8211; &#8220;Le drame d\u2019avant-garde et le th\u00e9\u00e2tre&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le drame d\u2019avant-garde et le th\u00e9\u00e2tre<\/em><br>Actes du colloque franco-polonais organis\u00e9 par l\u2019Universit\u00e9 de Wroc\u0142aw et l\u2019Universit\u00e9 de la Sorbonne Nouvelle (Paris III)<br>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<br>Pa\u0144stwowe Wydawnictwo Naukowe<br>Warszawa &#8211; Wroc\u0142aw 1979<br>(Acta Universitatis Wratislaviensis No 462)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-975c6c4 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-975c6c4 .ugb-accordion__title{line-height:1em !important}.ugb-975c6c4 .ugb-accordion__arrow{fill:#ffffff}.ugb-975c6c4 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-975c6c4.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XVI (1981) &#8211; <\/strong>&#8220;<strong>\u00c9tudes de litt\u00e9rature et de linguistique&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>\u00c9<\/em><em>tudes de litt\u00e9rature et de linguistique<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa &#8211; Wroc\u0142aw 1981<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 604)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Curriculum vitae et studiorum de Madame Anna Nilkiborc (avec la liste de ses publications)&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Ewa RZADKOWSKA, Relation d\u2019un r\u00e9volutionnaire sur Ermenonville et sa traduction dans \u201ePami\u0119tnik Lwowski\u201d&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>Marek TOMASZEWSKI, \u00c0 l\u2019aube de l\u2019inspiration romanesque&nbsp;: Quelques remarques sur les&nbsp;<em>Consid\u00e9rations<\/em>&nbsp;de Jean-Jacques Rousseau&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Urszula UCHERKOWA, Ce que lisent les jeunes au Quebec&nbsp;<strong>37<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, Les po\u00e8mes fran\u00e7ais de Wincenty Korab-Brzozowski&nbsp;<strong>45<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, Les virtualit\u00e9s de r\u00e9ception dans la dramaturgie de Samuel Beckett&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>El\u017cbieta KARPI\u0143SKA, Typologie des personnages fantastiques dans la litt\u00e9rature pour enfants&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw FRYCIE, Les \u0153uvres en prose pour enfants de Maria Kownacka apr\u00e8s la deuxi\u00e8me guerre mondiale&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Krystyna KULICZKOWSKA, Suit-on les voies du&nbsp;<em>C\u0153ur<\/em>&nbsp;et de&nbsp;<em>Pinocchio<\/em>&nbsp;? R\u00e9flexions sur la litt\u00e9rature italienne contemporaine pour enfants&nbsp;<strong>107<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI, Las ejemplares historias de los \u201eni\u00f1os cruzados\u201d&nbsp;: Notas sobre el esp\u00edritu beligerante de una literatura infantil&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Izabela KANIOWSKA-LEWA\u0143SKA, Les relations de Cl\u00e9mentine Hoffman (n\u00e9e Ta\u0144ska) avec la litt\u00e9rature fran\u00e7aise&nbsp;<strong>131<\/strong><\/li>\n\n\n\n<li>Deolinda SANTOS-ODIVELAS, Une ancienne maison \u2013 une \u00e9cole moderne&nbsp;<strong>143<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Les moyens de traduire en fran\u00e7ais la pr\u00e9position polonaise&nbsp;<em>pod<\/em>&nbsp;exprimant le rapport de proximit\u00e9&nbsp;<strong>147<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, La voix passive en fran\u00e7ais et en polonais \u2013 formes et moyens de traduction&nbsp;<strong>171<\/strong><\/li>\n\n\n\n<li>Hanna KARASZEWSKA-W\u00d3JCIK, Le genre grammatical des substantifs cong\u00e9n\u00e8res en polonais et en fran\u00e7ais&nbsp;<strong>189<\/strong><\/li>\n\n\n\n<li>Aniela \u0141YSIK, Typologie des fautes de fran\u00e7ais puis\u00e9es dans les copies d\u2019\u00e9tudiants polonais&nbsp;<strong>205<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, Pass\u00e9 compos\u00e9 vs. Pass\u00e9 simple dans le fran\u00e7ais du si\u00e8cle classique&nbsp;<strong>215<\/strong><\/li>\n\n\n\n<li>Frammenti di interventi alla tavola rotonda&nbsp;: Storiografia letteraria e l\u2019insegnamento della letteratura&nbsp;<strong>227<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-572473d ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-572473d .ugb-accordion__title{line-height:1em !important}.ugb-572473d .ugb-accordion__arrow{fill:#ffffff}.ugb-572473d .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-572473d.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XVII (1981) &#8211; &#8220;\u00c9tudes fran\u00e7aises en Europe non francophone&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>\u00c9tudes fran\u00e7aises en Europe non francophone<\/em><\/p>\n\n\n\n<p>Actes du s\u00e9minaire europ\u00e9en de l\u2019AUPELF (Wroc\u0142aw \u2013 Cracovie \u2013 Varsovie, 15-23 septembre 1979)<\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Pa\u0144stwowe Wydawnictwo Naukowe<\/p>\n\n\n\n<p>Warszawa \u2013 Wroc\u0142aw 1981<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 613)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-4d29905 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-4d29905 .ugb-accordion__title{line-height:1em !important}.ugb-4d29905 .ugb-accordion__arrow{fill:#ffffff}.ugb-4d29905 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-4d29905.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XVIII (1982) &#8211; &#8220;Le symbolisme en France et en Pologne&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le symbolisme en France et en Pologne<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1982<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 614)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Michel D\u00c9CAUDIN, \u00abLa Retrempe\u00bb ou le vers libre&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Maria PODRAZA-KWIATKOWSKA, La notion de symbole&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, Symbolisme et avant-garde&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Henri B\u00c9HAR, La culture potachique \u00e0 l\u2019assaut du Symbolisme. Le cas Jarry&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>Jan B\u0141O\u0143SKI, Le th\u00e9\u00e2tre symboliste et l\u2019histoire&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Pascaline MOURIER-CASILE, Figures et formes de la cl\u00f4ture dans le r\u00e9cit symboliste&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Jean MILLY, Henri de R\u00e9gnier et Proust&nbsp;<strong>91<\/strong><\/li>\n\n\n\n<li>Daniel LEUWERS, Une filiation&nbsp;: Mallarm\u00e9, Jouve, Bonnefoy&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Louis FORESTIER, R\u00eaverie en zinzolin&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Anne UBERSFELD, Maeterlinck et l\u2019objet th\u00e9\u00e2tral&nbsp;<strong>117<\/strong><\/li>\n\n\n\n<li>Hana JECHOVA, Aspects mythiques chez Maeterlinck et Wyspia\u0144ski&nbsp;<strong>127<\/strong><\/li>\n\n\n\n<li>Aleksander Wit LABUDA, Contextes d\u2019\u00e9nonciation et de lecture dans la communication po\u00e9tique (Baudelaire et Mme Sabatier)&nbsp;<strong>137<\/strong><\/li>\n\n\n\n<li>Jerzy KWIATKOWSKI, Le th\u00e8me du paradis perdu dans la po\u00e9sie de la Jeune Pologne&nbsp;<strong>155<\/strong><\/li>\n\n\n\n<li>Jacek KOLBUSZEWSKI, Quelques remarques sur la po\u00e9sie symboliste et la musique&nbsp;<strong>167<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, La critique du Symbolisme fran\u00e7ais en Pologne avant la premi\u00e8re guerre mondiale&nbsp;<strong>175<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-946ad25 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-946ad25 .ugb-accordion__title{line-height:1em !important}.ugb-946ad25 .ugb-accordion__arrow{fill:#ffffff}.ugb-946ad25 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-946ad25.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XIX (1983)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteur du volume \u2013 Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1983<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 620)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Krzysztof BOGACKI, \u00c0 propos du pr\u00e9dicat INTEND&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>nad<\/em>&nbsp;(+instrumental) comme exposant de la relation de proximit\u00e9&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Les \u00e9quivalents polonais de la pr\u00e9position fran\u00e7aise&nbsp;<em>\u00e0<\/em>&nbsp;au sens temporel&nbsp;<strong>31<\/strong><\/li>\n\n\n\n<li>Aniela \u0141YSIK, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>przed<\/em>&nbsp;au sens temporel&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Le comportement de certains suffixes fran\u00e7ais dans les mots emprunt\u00e9s par la langue polonaise&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Zofia SMYK, Le subjonctif dans les phrases simples en fran\u00e7ais et en roumain de nos jours&nbsp;<strong>73<\/strong><\/li>\n\n\n\n<li>Zygmunt WOJSKI, En torno al problema de los \u00abamericanismos\u00bb&nbsp;<strong>89<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-4060552 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-4060552 .ugb-accordion__title{line-height:1em !important}.ugb-4060552 .ugb-accordion__arrow{fill:#ffffff}.ugb-4060552 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-4060552.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XX (1983) &#8211; &#8221; La r\u00e9ception de l&#8217;\u0153uvre litt\u00e9raire&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>La r\u00e9ception de l<\/em><em>\u2019\u0153uvre litt\u00e9raire<\/em><\/p>\n\n\n\n<p>Recueil d\u2019\u00e9tudes du colloque organis\u00e9 par l\u2019Universit\u00e9 de Wroc\u0142aw dans la r\u00e9daction de J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1983<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 635)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduction&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Rita SCHOBER, Esth\u00e9tique de la r\u00e9ception et lecture r\u00e9aliste&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Daniel Henri PAGEAUX, La r\u00e9ception des \u0153uvres \u00e9trang\u00e8res. R\u00e9ception litt\u00e9raire ou repr\u00e9sentation culturelle?&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, La r\u00e9ception et ses documents. Esquisse d\u2019une \u00e9tude&nbsp;<strong>31<\/strong><\/li>\n\n\n\n<li>Hendrik van GORP, La r\u00e9ception de l\u2019\u0153uvre litt\u00e9raire&nbsp;: mode ou m\u00e9thode?&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>Stefan \u017b\u00d3\u0141KIEWSKI, Les circuits sociaux de la litt\u00e9rature et le probl\u00e8me du public&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Jaroslav FRY\u010cER, La communication litt\u00e9raire et le probl\u00e8me de la r\u00e9ception de l\u2019\u0153uvre litt\u00e9raire&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>W\u0142odzimierz BOLECKI, L\u2019espace socio-culturel et la lecture&nbsp;<strong>73<\/strong><\/li>\n\n\n\n<li>Hanna DZIECHCI\u0143SKA, Le r\u00f4le du genre litt\u00e9raire dans la r\u00e9ception de l\u2019\u0153uvre (XVI<sup>e<\/sup>&nbsp;\u2013 XVII<sup>e<\/sup>&nbsp;s.)&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Alain MONTADON, Imitation symptomatique et imitation g\u00e9n\u00e9tique&nbsp;<strong>91<\/strong><\/li>\n\n\n\n<li>Anne UBERSFELD, L\u2019espace th\u00e9\u00e2tral et sa r\u00e9ception&nbsp;<strong>105<\/strong><\/li>\n\n\n\n<li>Daniel LEUWERS, Les lectures de po\u00e9sie&nbsp;<strong>113<\/strong><\/li>\n\n\n\n<li>Horst HEINTZE, La lecture politique d\u2019un prisonnier solitaire. Antonio Gramsci et les lettres de la prison&nbsp;<strong>123<\/strong><\/li>\n\n\n\n<li>Henri B\u00c9HAR, La r\u00e9ception du surr\u00e9alisme. Pratique d\u2019une th\u00e9orie&nbsp;<strong>127<\/strong><\/li>\n\n\n\n<li>Dragan NEDELJKOVI\u010c, La force et l\u2019impuissance de la litt\u00e9rature dans le monde actuel&nbsp;<strong>139<\/strong><\/li>\n\n\n\n<li>Norbert HONSZA, Litt\u00e9rature de masse et po\u00e9tique de r\u00e9ception&nbsp;<strong>145<\/strong><\/li>\n\n\n\n<li>Ralph HEYNDELS, Probl\u00e9maticit\u00e9 de la r\u00e9ception du texte discontinu&nbsp;<strong>157<\/strong><\/li>\n\n\n\n<li>Janina KULCZYCKA-SALONI, Le succ\u00e8s de Zola \u00e0 l\u2019\u00e9tranger. Quelques remarques sur les \u00e9tapes de la r\u00e9ception de l\u2019\u00e9crivain&nbsp;<strong>171<\/strong><\/li>\n\n\n\n<li>Aleksander AB\u0141AMOWICZ, La fortune de l\u2019\u0153uvre d\u2019Aragon en Pologne&nbsp;<strong>187<\/strong><\/li>\n\n\n\n<li>Ewa RZADKOWSKA, \u00c0 propos de la r\u00e9ception de quelques textes fran\u00e7ais du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle en Pologne&nbsp;<strong>197<\/strong><\/li>\n\n\n\n<li>Valeria TASCA, La traduction comme cas particulier de la r\u00e9ception litt\u00e9raire&nbsp;:&nbsp;<em>Non si paga!&nbsp;<\/em><em>Non si paga!<\/em>&nbsp;de Dario Fo&nbsp;<strong>203<\/strong><\/li>\n\n\n\n<li>Marek TOMASZEWSKI, Les fortunes de&nbsp;<em>Lodo\u00efska<\/em>&nbsp;<strong>213<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, Le spectateur virtuel des drames de Jean Genet&nbsp;<strong>223<\/strong><\/li>\n\n\n\n<li>Daniel MADEL\u00c9NAT,&nbsp;<em>Joseph Delorme<\/em>&nbsp;de Sainte-Beuve&nbsp;: Emission, r\u00e9ception, r\u00e9troaction&nbsp;<strong>229<\/strong><\/li>\n\n\n\n<li>Carmen Licari GRAY, Maupassant nouvelliste&nbsp;: Le lecteur des&nbsp;<em>Contes de la b\u00e9casse<\/em>&nbsp;<strong>243<\/strong><\/li>\n\n\n\n<li>El\u017cbieta KARPI\u0143SKA, Le personnage, objet de communication litt\u00e9raire dans la litt\u00e9rature pour enfants&nbsp;<strong>255<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, D\u00e9cadentisme ou symbolisme? R\u00e9ception critique des deux notions en Pologne (1886-1918)&nbsp;<strong>265<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw CHOMICZ, La r\u00e9ception d\u2019Andr\u00e9 Gide dans la presse polonaise de l\u2019apr\u00e8s guerre (1945-1979)&nbsp;<strong>273<\/strong><\/li>\n\n\n\n<li>Alain BAUDOT, Le texte francophone et sa r\u00e9ception&nbsp;<strong>283<\/strong><\/li>\n\n\n\n<li>Micha\u0142 G\u0141OWI\u0143SKI, Mim\u00e9sis linguistique dans l\u2019\u00e9nonc\u00e9 litt\u00e9raire&nbsp;<strong>301<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-a9ce8f8 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-a9ce8f8 .ugb-accordion__title{line-height:1em !important}.ugb-a9ce8f8 .ugb-accordion__arrow{fill:#ffffff}.ugb-a9ce8f8 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-a9ce8f8.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXI (1986) &#8211; Krystyna Gabryjelska, <em>Doktryny literackie i estetyczne w has\u0142ach <\/em>Encyklopedii <em>Diderota<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Krystyna Gabryjelska,&nbsp;<em>Doktryny literackie i estetyczne w has\u0142ach <\/em>Encyklopedii <em>Diderota<\/em><\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1986<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 685)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-7367a90 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-7367a90 .ugb-accordion__title{line-height:1em !important}.ugb-7367a90 .ugb-accordion__arrow{fill:#ffffff}.ugb-7367a90 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-7367a90.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXII (1984) &#8211; &#8220;Typologie du roman&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Typologie du roman<\/em><\/p>\n\n\n\n<p>Actes du colloque organis\u00e9 par l\u2019Universit\u00e9 de la Sorbonne Nouvelle (Paris III) en collaboration avec l\u2019Universit\u00e9 de Wroc\u0142aw (Paris les 24-26 janvier 1983)<\/p>\n\n\n\n<p>Pr\u00e9sent\u00e9s par Christiane Moatti et J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1984<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 690)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Christiane MOATTI, Introduction. Perspectives sur le genre&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, Pr\u00e9face&nbsp;<strong>11<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>I. Questions de narratologie<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Philippe HAMON, H\u00e9ros, h\u00e9raut, hi\u00e9rarchies&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>Aleksander Wit LABUDA, Le personnage dans la lecture \u00abr\u00e9aliste\u00bb&nbsp;<strong>27<\/strong><\/li>\n\n\n\n<li>Raymonde DEBRAY-GENETTE, La figuration descriptive (Flaubert, les Goncourt)&nbsp;<strong>49<\/strong><\/li>\n\n\n\n<li>Henri MITTERAND, L\u2019espace du corps dans le roman r\u00e9aliste&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Micha\u0142 G\u0141OWI\u0143SKI, Quatre types de fiction narrative&nbsp;<strong>73<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>II. Variations historiques du genre<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Fran\u00e7oise GAILLARD, Du trait\u00e9 de m\u00e9decine au roman m\u00e9dical&nbsp;: ou la petite histoire du nervosisme&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, Le roman anti-naturaliste. Quelques directions de l\u2019art romanesque \u00e0 la charni\u00e8re des XIX<sup>e<\/sup>&nbsp;et XX<sup>e<\/sup>&nbsp;si\u00e8cles&nbsp;<strong>97<\/strong><\/li>\n\n\n\n<li>Christiane MOATTI, Ouverture et cl\u00f4ture d\u2019un roman engag\u00e9&nbsp;<strong>111<\/strong><\/li>\n\n\n\n<li>Daniel-Henri PAGEAUX, Litt\u00e9rature bourgeoise et succ\u00e8s populaire&nbsp;: Le cas Pierre Benoit&nbsp;<strong>127<\/strong><\/li>\n\n\n\n<li>W\u0142odzimierz BOLECKI, Witkacy et les probl\u00e8mes du roman moderne&nbsp;<strong>149<\/strong><\/li>\n\n\n\n<li>Marek TOMASZEWSKI,&nbsp;<em>Miazga<\/em>&nbsp;de Jerzy Andrzejewski&nbsp;<strong>167<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>III. De quelques cat\u00e9gories du roman<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jan B\u0141O\u0143SKI, La passion de l\u2019autoportrait&nbsp;: Leiris et Gombrowicz&nbsp;<strong>179<\/strong><\/li>\n\n\n\n<li>Jean MILLY, Probl\u00e8mes de typologie du roman proustien (\u00e0 propos de la&nbsp;<em>Prisonni\u00e8re<\/em>)&nbsp;<strong>189<\/strong><\/li>\n\n\n\n<li>Roger FAYOLLE, Roman et traditions dans les romans africains et maghr\u00e9bins d\u2019\u00e9criture fran\u00e7aise&nbsp;<strong>199<\/strong><\/li>\n\n\n\n<li>R\u00e9n\u00e9 GARGUILO, Roman populaire, roman populiste, roman prol\u00e9tarien&nbsp;<strong>211<\/strong><\/li>\n\n\n\n<li>Michel D\u00c9CAUDIN, Sur le roman en vers au XX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>225<\/strong><\/li>\n\n\n\n<li>Jean-Yves TADI\u00c9, Le roman d\u2019aventures&nbsp;<strong>235<\/strong><\/li>\n\n\n\n<li>Alina BRODZKA, Histoire, historiographie et litt\u00e9rature. Les conceptions sur l\u2019histoire dans la litt\u00e9rature polonaise du dernier demi-si\u00e8cle. Wac\u0142aw Berent \u2013 un pr\u00e9curseur&nbsp;<strong>241<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-927c603 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-927c603 .ugb-accordion__title{line-height:1em !important}.ugb-927c603 .ugb-accordion__arrow{fill:#ffffff}.ugb-927c603 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-927c603.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXIII (1985) &#8211; &#8220;Le fran\u00e7ais langue \u00e9trang\u00e8re&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le fran<\/em><em>\u00e7<\/em><em>ais langue \u00e9trang\u00e8re<\/em><\/p>\n\n\n\n<p>Actes du Colloque franco-polonais (Lille, avril 1983)<\/p>\n\n\n\n<p>R\u00e9dacteur du num\u00e8ro \u2013 Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1985<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 818)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Michel GLATIGNY, Pr\u00e9sentation&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Michel GLATIGNY, Coup d\u2019\u0153il sur l\u2019\u00e9volution de la didactique d\u2019une langue \u00e9trang\u00e8re (1970-1982)&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Daniele FLAMENT-BOISTRANCOURT, L\u2019interf\u00e9rence&nbsp;: un masque, une ambigu\u00eft\u00e9?&nbsp;<strong>21<\/strong><\/li>\n\n\n\n<li>Danielle CORBIN, Aspects de la comp\u00e9tence d\u00e9rivationnelle&nbsp;<strong>37<\/strong><\/li>\n\n\n\n<li>Elisabeth FICHEZ-VALLEZ, Quel sens peut avoir le travail sur les mots avec des adultes francophones&nbsp;<strong>53<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, La structure fonctionnelle des verbes de mouvement. Essai d\u2019analyse \u00e0 partir d\u2019un \u00e9chantillon fran\u00e7ais&nbsp;<strong>71<\/strong><\/li>\n\n\n\n<li>Hanna KARASZEWSKA, Moyens de traduire en polonais la pr\u00e9position \u00abdans\u00bb dans les constructions au sens directionnel&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise \u00abza\u00bb dans les syntagmes locatifs&nbsp;<strong>91<\/strong><\/li>\n\n\n\n<li>A. M. DESSAUX-BERTHONNEAU, Espace de temps et dur\u00e9e dans les constructions pr\u00e9positionnelles&nbsp;: donn\u00e9es de la comp\u00e9tence syntaxique, s\u00e9mantique et lexicale au regard du fran\u00e7ais langue \u00e9trang\u00e8re&nbsp;<strong>103<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Remarques sur les pr\u00e9positions fran\u00e7aises exprimant la post\u00e9riorit\u00e9&nbsp;<strong>147<\/strong><\/li>\n\n\n\n<li>Zofia SMYK, Enqu\u00eate sur l\u2019emploi des locutions causales&nbsp;:&nbsp;<em>parce que<\/em>,&nbsp;<em>car<\/em>,&nbsp;<em>puisque<\/em>,&nbsp;<em>comme<\/em>. Observations pr\u00e9liminaires&nbsp;<strong>157<\/strong><\/li>\n\n\n\n<li>Micha\u0142 MICHALAK, Fautes phon\u00e9tiques de fran\u00e7ais \u00e0 travers la transcription chez les polonophones&nbsp;<strong>163<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-f79672c ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-f79672c .ugb-accordion__title{line-height:1em !important}.ugb-f79672c .ugb-accordion__arrow{fill:#ffffff}.ugb-f79672c .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-f79672c.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXIV (1987) &#8211; Eugeniusz Ucherek, <em>Francuskie odpowiedniki polskich przyimk\u00f3w lokatywnych w praktyce przek\u0142adowej<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Eugeniusz UCHEREK,&nbsp;<em>Francuskie odpowiedniki polskich przyimk\u00f3w lokatywnych w praktyce przek\u0142adowej<\/em><\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1987<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 821)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-3a1b4f7 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-3a1b4f7 .ugb-accordion__title{line-height:1em !important}.ugb-3a1b4f7 .ugb-accordion__arrow{fill:#ffffff}.ugb-3a1b4f7 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-3a1b4f7.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXV (1985) &#8211; &#8220;Le th\u00e9\u00e2tre dans l\u2019Europe des Lumi\u00e8res. Programmes. Pratiques. \u00c9changes&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le th\u00e9\u00e2tre dans l<\/em><em>\u2019Europe des Lumi\u00e8res. Programmes. Pratiques. \u00c9changes<\/em><\/p>\n\n\n\n<p>Actes du Colloque organis\u00e9 par le Centre d\u2019\u00c9tudes Litt\u00e9raires Compar\u00e9es de l\u2019Universit\u00e9 de Wroc\u0142aw (Karpacz, 18 \u2013 22 avril 1983)<\/p>\n\n\n\n<p>Textes recueillis et pr\u00e9sent\u00e9s par Mieczys\u0142aw Klimowicz et Aleksander Wit Labuda<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1985<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 845)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos&nbsp;<strong>3<\/strong><\/li>\n<\/ul>\n\n\n\n<p>I. STYLES ET PROGRAMMES<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Gy\u00f6rgy M. VAJDA, Le&nbsp;<em>Nathan<\/em>&nbsp;de Lessing et les styles europ\u00e9ens du si\u00e8cle des Lumi\u00e8res&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Sante GRACIOTTI, Le m\u00e9lodrame m\u00e9tastasien dans la culture litt\u00e9raire polonaise du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw KLIMOWICZ, La naissance de la sc\u00e8ne nationale polonaise et les pol\u00e9miques autour de Shakespeare (1765-1795)&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Zofia WO\u0141OSZY\u0143SKA, Shakespeare en Pologne vers la fin du XVIII<sup>e<\/sup>&nbsp;et au d\u00e9but du XIX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>Martine de ROUGEMONT, Quelques utopies th\u00e9\u00e2trales du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle fran\u00e7ais&nbsp;<strong>59<\/strong><\/li>\n<\/ul>\n\n\n\n<p>II. PRATIQUE DU TH\u00c9\u00c2TRE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Wanda ROSZKOWSKA, Les com\u00e9diens italiens en Pologne et la&nbsp;<em>Commedia moderna<\/em>&nbsp;dans la premi\u00e8re moiti\u00e9 du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>71<\/strong><\/li>\n\n\n\n<li>Irena KADULSKA, La tradition de la&nbsp;<em>commedia dell\u2019arte<\/em>&nbsp;dans le th\u00e9\u00e2tre j\u00e9suite du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>81<\/strong><\/li>\n\n\n\n<li>Wiktoria KOZ\u0141OWSKA, Le th\u00e9\u00e2tre piariste de Stanis\u0142aw Konarski&nbsp;<strong>97<\/strong><\/li>\n<\/ul>\n\n\n\n<p>III. AUTEURS ET TEXTES<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Aleksandra HOFFMANN-LIPO\u0143SKA, Les \u00e9l\u00e9ments bourgeois dans la com\u00e9die de Ph. N\u00e9ricault Destouches&nbsp;<strong>113<\/strong><\/li>\n\n\n\n<li>Franca ANGELLINI, Le personnage f\u00e9minin dans le th\u00e9\u00e2tre de Goldoni&nbsp;<strong>125<\/strong><\/li>\n\n\n\n<li>Jacques VOISINE,&nbsp;<em>Le Devin du village<\/em>&nbsp;de Jean-Jacques Rousseau et son adaptation anglaise par le musicologue Charles Burney&nbsp;<strong>133<\/strong><\/li>\n\n\n\n<li>Janina PAW\u0141OWICZ, Les origines europ\u00e9ennes du th\u00e9\u00e2tre comique de F. Zab\u0142ocki&nbsp;<strong>147<\/strong><\/li>\n\n\n\n<li>Zdzis\u0142aw LIBERA, Pages d\u2019histoire du drame sentimental en Pologne du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle. Du&nbsp;<em>Czynsz<\/em>&nbsp;de Franciszek Karpi\u0144ski&nbsp;<strong>155<\/strong><\/li>\n\n\n\n<li>Marie-France SILVER, Le th\u00e9\u00e2tre du marquis de Sade&nbsp;<strong>163<\/strong><\/li>\n\n\n\n<li>El\u017cbieta ZAWISZA, L\u2019extension du th\u00e9\u00e2tre dans la France du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle (quelques propositions de recherche)&nbsp;<strong>179<\/strong><\/li>\n<\/ul>\n\n\n\n<p>IV. DISCOURS CRITIQUES<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Zofia SINKO, La discussion sur le th\u00e9\u00e2tre dans le \u00abMonitor\u00bb polonais et le \u00abSpectator\u00bb anglais&nbsp;<strong>191<\/strong><\/li>\n\n\n\n<li>Martin FONTIUS, Lessing \u2013 \u00e9volution du critique th\u00e9\u00e2tral&nbsp;<strong>209<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Le genre comique dans l\u2019<em>Encyclop\u00e9die<\/em>&nbsp;de Diderot&nbsp;<strong>221<\/strong><\/li>\n\n\n\n<li>Maria RUTKOWSKA, Les acteurs. Terminologie th\u00e9\u00e2trale au si\u00e8cle des Lumi\u00e8res en Pologne&nbsp;<strong>235<\/strong><\/li>\n<\/ul>\n\n\n\n<p>V. TH\u00c9\u00c2TRE ET HISTOIRE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Hana JECHOVA, Les motifs historiques dans le th\u00e9\u00e2tre tch\u00e8que et dans le th\u00e9\u00e2tre polonais au tournant des Lumi\u00e8res&nbsp;<strong>247<\/strong><\/li>\n\n\n\n<li>Luigi de NARDIS, La n\u00e9vrose r\u00e9volutionnaire au th\u00e9\u00e2tre&nbsp;<strong>263<\/strong><\/li>\n\n\n\n<li>Alina KOWALCZYKOWA, L\u2019\u00e9pilogue des Lumi\u00e8res comme prologue du drame romantique&nbsp;<strong>269<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-85a4fb9 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-85a4fb9 .ugb-accordion__title{line-height:1em !important}.ugb-85a4fb9 .ugb-accordion__arrow{fill:#ffffff}.ugb-85a4fb9 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-85a4fb9.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXVI (1986) &#8211; &#8220;Le texte dramatique. La lecture et la sc\u00e8ne&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le texte dramatique. La lecture et la sc\u00e8ne<\/em><\/p>\n\n\n\n<p>Actes du colloque organis\u00e9 par l\u2019Universit\u00e9 de Wroc\u0142aw et l\u2019Universit\u00e9 de la Sorbonne Nouvelle (Paris III) en collaboration avec d\u2019autres universit\u00e9s polonaises et \u00e9trang\u00e8es (Karpacz les 29 avril \u2013 3 mai 1984)<\/p>\n\n\n\n<p>Pr\u00e9sent\u00e9 par J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1986<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 895)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J\u00f3zef HEISTEIN, Pr\u00e9face&nbsp;<strong>3<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Les textes dramatiques et les modes de lecture<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Robert HORVILLE, Th\u00e9\u00e2tre \u00e0 lire et th\u00e9\u00e2tre \u00e0 voir&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>J\u00f3zef KELERA, La lecture du drame&nbsp;<strong>21<\/strong><\/li>\n\n\n\n<li>Antonio ST\u00c4UBLE, La dialectique texte-spectacle dans le th\u00e9\u00e2tre italien du XX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Dobrochna RATAJCZAK, Lire \u2013 voir \u2013 savoir&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Zbigniew OSI\u0143SKI, L\u2019analyse du texte dramatique dans le th\u00e9\u00e2tre \u00abReduta\u00bb de Juliusz Osterwa et de Mieczys\u0142aw Limanowski&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Jan B\u0141O\u0143SKI, Le censeur-lecteur&nbsp;<strong>67<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Le texte et ses valeurs th\u00e9\u00e2trales<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Anne UBERSFELD, Pour la th\u00e9orie des actes de langage au th\u00e9\u00e2tre&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Patrice PAVIS, De l\u2019importance du rythme dans le travail de la mise en sc\u00e8ne&nbsp;<strong>87<\/strong><\/li>\n\n\n\n<li>S\u0142awomir \u015aWIONTEK, La situation th\u00e9\u00e2trale inscrite dans le texte dramatique&nbsp;<strong>97<\/strong><\/li>\n\n\n\n<li>Kazimierz BRAUN, Le metteur en sc\u00e8ne \u2013 lecteur du drame&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Adelin FIORATO, Les&nbsp;<em>Six personnages<\/em>&nbsp;de Pirandello et le \u00abmal\u00bb du th\u00e9\u00e2tre&nbsp;<strong>125<\/strong><\/li>\n\n\n\n<li>Halina SAWECKA, Proposition d\u2019une relecture de&nbsp;<em>Henri IV<\/em>&nbsp;de Pirandello sous l\u2019angle des rapports entre le th\u00e9\u00e2tre et la folie&nbsp;<strong>135<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>La lecture et la relecture des textes<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Mieczys\u0142aw INGLOT, Les drames de Juliusz S\u0142owacki dans l\u2019enseignement scolaire apr\u00e8s la deuxi\u00e8me guerre mondiale&nbsp;<strong>145<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata SUGIERA, La&nbsp;<em>Non-divine com\u00e9die<\/em>&nbsp;de Krasi\u0144ski dans la lecture litt\u00e9raire et th\u00e9\u00e2trale&nbsp;<strong>159<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, \u00c9crivains et dramaturges \u2013 lecteurs des&nbsp;<em>Noces<\/em>&nbsp;de Wyspia\u0144ski&nbsp;<strong>171<\/strong><\/li>\n\n\n\n<li>Liana NISSIM, Une lecture moderne du th\u00e9\u00e2tre symboliste&nbsp;:&nbsp;<em>Ax\u00ebl<\/em>&nbsp;de Villiers de l\u2019Isle-Adam&nbsp;<strong>185<\/strong><\/li>\n\n\n\n<li>Th\u00e9r\u00e8se GOYET, \u00abAu moment que je parle&#8230;\u00bb Requ\u00eate pour une lecture du th\u00e9\u00e2tre au temps pr\u00e9sent&nbsp;<strong>203<\/strong><\/li>\n\n\n\n<li>Bruno De MARCHI, de&nbsp;<em>Umberto D.<\/em>&nbsp;1952, lectures compar\u00e9es&nbsp;: sujet, sc\u00e9nario, texte filmique&nbsp;<strong>215<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-6490cd4 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-6490cd4 .ugb-accordion__title{line-height:1em !important}.ugb-6490cd4 .ugb-accordion__arrow{fill:#ffffff}.ugb-6490cd4 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-6490cd4.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXVII (1987)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteurs du volume \u2013 Aleksander Labuda et Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1987<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 950)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Od Redaktor\u00f3w&nbsp;<strong>3<\/strong><\/li>\n<\/ul>\n\n\n\n<p>I. PROBL\u00c8MES DE M\u00c9THODE ET DE M\u00c9TIER<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J\u00f3zef HEISTEIN, Les directions de recherches \u00e0 l\u2019Institut de Philologie Romane&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Jan TRZYNADLOWSKI, Wsp\u00f3\u0142praca Instytutu Filologii Roma\u0144skiej z p\u00f3\u0142rocznikiem \u201eZagadnienia Rodzaj\u00f3w Literackich\u201d (\u201eLes Probl\u00e8mes des Genres Litt\u00e9raires\u201d)&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>Jerzy FALICKI, O potrzebie bada\u0144 nad dziejami polskiej romanistyki&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw KLIMOWICZ, Problemy komparatystyki literackiej w Polsce&nbsp;<strong>21<\/strong><\/li>\n<\/ul>\n\n\n\n<p>II. DANS L\u2019OPTIQUE COMPARATISTE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan KAUFMAN, Certains aspects du ph\u00e9nom\u00e8ne de relatinisation des mots d\u2019emprunts fran\u00e7ais dans le lexique de la langue polonaise&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Regina MAZUR\u00d3W, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>w<\/em>&nbsp;+ locatif dans les syntagmes marquant le mode d\u2019habillement&nbsp;<strong>45<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, L\u2019opposition&nbsp;<em>pendant<\/em>\/<em>durant<\/em>&nbsp;dans la traduction polonaise&nbsp;<strong>61<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Francuskie korelaty t\u0142umaczeniowe temporalnego&nbsp;<em>za<\/em>&nbsp;+ biernik jako wyk\u0142adnika lokalizacji nynocentrycznej i allocentrycznej&nbsp;<strong>81<\/strong><\/li>\n\n\n\n<li>Aleksander Wit LABUDA, Gra rzeczy i s\u0142\u00f3w \u2013 o studenckich t\u0142umaczeniach Borisa Viana&nbsp;<strong>97<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, Mi\u0119dzy orygina\u0142em a przek\u0142adem. Kilka uwag o recepcji Baudelaire\u2019a (<em>Le Gouffre<\/em>&nbsp;w t\u0142umaczeniu Antoniego Langego)&nbsp;<strong>107<\/strong><\/li>\n<\/ul>\n\n\n\n<p>III. PROBL\u00c8MES DE LANGUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Hanna KARASZEWSKA, Enseigner l\u2019\u00e9crit \u2013 pour quoi faire? Quelques remarques sur les travaux pratiques de \u201ecomposition\u201d&nbsp;<strong>117<\/strong><\/li>\n\n\n\n<li>Micha\u0142 MICHALAK, Les propositions infinitives dans la langue fran\u00e7aise. Essai de classification des propositions infinitives compl\u00e9tives \u00e0 des fins p\u00e9dagogiques&nbsp;<strong>123<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, Le contenu, la structuration &#8211; approche stratificationnelle&nbsp;<strong>133<\/strong><\/li>\n\n\n\n<li>Zygmunt WOJSKI, El gallego &#8211; \u00bf un dialecto del portugu\u00e9s&nbsp;?&nbsp;<strong>153<\/strong><\/li>\n<\/ul>\n\n\n\n<p>IV. PROBL\u00c8MES DE LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Mieczys\u0142aw CHOMICZ, Relacje osobowe w powie\u015bci&nbsp;<em>Un de Baumugnes<\/em>&nbsp;Jana Giono. Dialog a monolog&nbsp;<strong>159<\/strong><\/li>\n\n\n\n<li>Krystyna FALICKA, Espace et id\u00e9ologie&nbsp;<strong>171<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Voltaire \u2013 la vision du pass\u00e9 litt\u00e9raire&nbsp;<strong>177<\/strong><\/li>\n\n\n\n<li>Jacek KOLBUSZEWSKI, Pary\u017c w literaturze polskiej (1830-1918)&nbsp;<strong>187<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI, Il teatro dei futuristi italiani. Teoria scenica e condizionamenti storici&nbsp;<strong>207<\/strong><\/li>\n\n\n\n<li>Anna NIKLIBORC,&nbsp;<em>Olesia ou la Pologne<\/em>. \u00c9pisode inconnu de l\u2019amiti\u00e9 franco-polonaise&nbsp;<strong>215<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI, El concepto de Unidad en la propaganda franquista. Notas para la historia de una obsesi\u00f3n (1937-1962)&nbsp;<strong>223<\/strong><\/li>\n\n\n\n<li>Hanna WA\u0141K\u00d3WSKA, Zapoznana francuska relacja o Indiach&nbsp;<strong>233<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-a0cecb9 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-a0cecb9 .ugb-accordion__title{line-height:1em !important}.ugb-a0cecb9 .ugb-accordion__arrow{fill:#ffffff}.ugb-a0cecb9 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-a0cecb9.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXVIII (1987) &#8211; J\u00f3zef Heistein, <em>D\u00e9cadentisme, symbolisme, avant-garde<\/em> <em>dans les litt\u00e9ratures europ\u00e9ennes. Recueil d\u2019\u00e9tudes<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>J\u00f3zef Heistein,&nbsp;<em>D\u00e9cadentisme, symbolisme, avant-garde dans les litt\u00e9ratures europ\u00e9ennes. Recueil d<\/em><em>\u2019\u00e9tudes<\/em><\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1987<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 1019)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-d1e8898 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-d1e8898 .ugb-accordion__title{line-height:1em !important}.ugb-d1e8898 .ugb-accordion__arrow{fill:#ffffff}.ugb-d1e8898 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-d1e8898.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXIX (1989) &#8211; Edmund Sikora, <em>Praeteritum compos\u00e9 en fran\u00e7ais pr\u00e9classique et classique<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Edmund Sikora,&nbsp;<em>Praeteritum compos\u00e9 en fran\u00e7ais pr\u00e9classique et classique<\/em><\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1989<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 1030)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-21cd36a ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-21cd36a .ugb-accordion__title{line-height:1em !important}.ugb-21cd36a .ugb-accordion__arrow{fill:#ffffff}.ugb-21cd36a .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-21cd36a.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXX (1989) &#8211; &#8220;\u00c9tudes de linguistique romane&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>\u00c9tudes de linguistique romane<\/em><\/p>\n\n\n\n<p>Actes du VI<sup>e<\/sup>&nbsp;Congr\u00e8s des Linguistes Romanisants Polonais (Karpacz, mai 1987)<\/p>\n\n\n\n<p>R\u00e9dacteur du tome \u2013 Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1989<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1064)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Eugeniusz UCHEREK, Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Michel BELLOT-ANTONY, Phrases et modes d\u2019\u00e9nonciation dans le&nbsp;<em>Quart Livre<\/em>&nbsp;de Rabelais&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Anna BOCHNAKOWA, Entre l\u2019emprunt et le n\u00e9ologisme inspir\u00e9 d\u2019un mot \u00e9tranger en fran\u00e7ais et en polonais&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Krzysztof BOGACKI, L\u2019ambigu\u00eft\u00e9 et le temps&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Gra\u017cyna BOGUS\u0141AWSKA,&nbsp;<em>Presque<\/em>&nbsp;\u2013 analyse s\u00e9mantique \u00e0 la Ducrot&nbsp;<strong>33<\/strong><\/li>\n\n\n\n<li>Dariusz BRALEWSKI, Locutions phras\u00e9ologiques \u00e0 sens \u2018battre qqn\u2019 en fran\u00e7ais et en polonais&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Danielle CORBIN, La place de l\u2019histoire dans une morphologie synchronique&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Barbara CYNARSKA, Le lexique du frioulan&nbsp;<strong>69<\/strong><\/li>\n\n\n\n<li>Urszula D\u0104MBSKA-PROKOP, Observations sur la coh\u00e9rence textuelle&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Andr\u00e9 DUY\u00c9, Si m\u2019a\u00eft Diex \/ Se Diex m\u2019a\u00eft. Une formule de serment de l\u2019ancien fran\u00e7ais \u2013 ou \u00ab la preuve par Dieu \u00bb&nbsp;<strong>85<\/strong><\/li>\n\n\n\n<li>Teresa GIERMAK-ZIELI\u0143SKA, R\u00f4le du pr\u00e9suppos\u00e9 dans l\u2019interpr\u00e9tation de l\u2019antonymie verbale&nbsp;<strong>95<\/strong><\/li>\n\n\n\n<li>Michel GLATIGNY, La naissance de la norme fran\u00e7aise&nbsp;: la syntaxe des relatifs au XVI<sup>e<\/sup>&nbsp;si\u00e8cle compar\u00e9e \u00e0 celle de nos jours&nbsp;<strong>101<\/strong><\/li>\n\n\n\n<li>Ives GOURGAUD, L\u2019emploi des temps du pass\u00e9 en occitan&nbsp;<strong>117<\/strong><\/li>\n\n\n\n<li>Halina GRZMIL-TYLUTKI, La tautologie et la contradiction \u2013 et la structure s\u00e9mantique&nbsp;<strong>123<\/strong><\/li>\n\n\n\n<li>El\u017cbieta JAMROZIK, Description et appr\u00e9ciation dans les adjectifs qualificatifs&nbsp;<strong>129<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Observations concernant l\u2019influence de la graphie sur les mots d\u2019emprunt fran\u00e7ais en polonais&nbsp;<strong>135<\/strong><\/li>\n\n\n\n<li>Jolanta LE\u015aNIAK, Les voies des emprunts italiens dans le vieux polonais&nbsp;<strong>141<\/strong><\/li>\n\n\n\n<li>Ewa MICZKA, L\u2019analyse de l\u2019encha\u00eenement rh\u00e9matique dans l\u2019\u00e9tude de la coh\u00e9rence textuelle&nbsp;<strong>145<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata NOWAKOWSKA, Nominalisations objective et propositionnelle formellement identiques&nbsp;<strong>153<\/strong><\/li>\n\n\n\n<li>Wiaczes\u0142aw NOWIKOW, Sobre la \u00abdesaparici\u00f3n\u00bb del pluscuamperfecto de subjuntivo de los esquemas condicionales&nbsp;<strong>161<\/strong><\/li>\n\n\n\n<li>Genevi\u00e8ve P\u00c9TIOT, Statut s\u00e9miotique de la star dans quelques textes publicitaires&nbsp;<strong>169<\/strong><\/li>\n\n\n\n<li>Michel QUEREUIL, La traduction du vocabulaire dans&nbsp;<em>La Bible fran\u00e7aise du 13<\/em><sup><em>\u00e8me<\/em><\/sup><em>&nbsp;si\u00e8cle<\/em>&nbsp;<strong>177<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, La s\u00e9mantique des verbes de mouvement \u00e0 orientation d\u00e9ictique en fran\u00e7ais moderne. Essai d\u2019analyse et de formalisation&nbsp;: approche stratificationnelle&nbsp;<strong>185<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Syntagme \u00ab<em>\u00e0<\/em>&nbsp;+ Nom d\u2019Action\u00bb &#8211; compl\u00e9ment de temps&nbsp;? Observations&nbsp;<strong>199<\/strong><\/li>\n\n\n\n<li>J\u00f3zef SYPNICKI, Les structures avec le pronom r\u00e9fl\u00e9chi en fran\u00e7ais et en polonais&nbsp;<strong>205<\/strong><\/li>\n\n\n\n<li>Marcela \u015aWI\u0104TKOWSKA, L\u2019imparfait modal ou le voyage dans l\u2019imaginaire&nbsp;<strong>211<\/strong><\/li>\n\n\n\n<li>Teresa TOMASZKIEWICZ, Le pr\u00e9sent \u2013 essai d\u2019interpr\u00e9tation dans le cadre d\u2019\u00e9tude comparative&nbsp;<strong>217<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, La traduction en fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>w<\/em>&nbsp;+ accusatif au sens temporel&nbsp;<strong>225<\/strong><\/li>\n\n\n\n<li>Gra\u017cyna Ma\u0142gorzata VETULANI, Quelques fonctions quantifiantes des adjectifs en fran\u00e7ais&nbsp;<strong>233<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw WID\u0141AK, Omonimizzazione dei prefissi polisemici italiani&nbsp;<strong>239<\/strong><\/li>\n\n\n\n<li>Zygmunt WOJSKI, El castellano en la Argentina&nbsp;<strong>247<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-7e64772 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-7e64772 .ugb-accordion__title{line-height:1em !important}.ugb-7e64772 .ugb-accordion__arrow{fill:#ffffff}.ugb-7e64772 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-7e64772.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXI (1988) &#8211; &#8220;Probl\u00e8mes de terminologie litt\u00e9raire&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Probl\u00e8mes de terminologie litt\u00e9raire<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1988<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1080)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J\u00f3zef HEISTEIN, Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Ren\u00e9 MARTIN, Terminologie et probl\u00e9matique des genres litt\u00e9raires&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Tomasz STR\u00d3\u017bY\u0143SKI, La reconnaissance&nbsp;: d\u00e9finition, typologie, probl\u00e8mes d\u2019analyse&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw CHOMICZ, Dialogue \u2013 contextes et significations du terme&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Colette ROUBAUD, Jean Cocteau et les genres litt\u00e9raires&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, Th\u00e9\u00e2tralisation, autoth\u00e9matisme, th\u00e9\u00e2tre dans le th\u00e9\u00e2tre&nbsp;<strong>53<\/strong><\/li>\n\n\n\n<li>Jean-Pierre GOLDENSTEIN, Sur quelques pr\u00e9suppos\u00e9s du discours critique&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Les limites de la litt\u00e9rature dans les articles de l\u2019<em>Encyclop\u00e9die<\/em>&nbsp;de Diderot&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, L\u2019\u00e9pith\u00e8te \u201epolitique\u201d en rapport avec la litt\u00e9rature&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Daniel MADEL\u00c9NAT, Le concept d\u2019intimisme en histoire litt\u00e9raire&nbsp;<strong>91<\/strong><\/li>\n\n\n\n<li>Pierre MALANDAIN, Les termes de l\u2019intertextologie&nbsp;<strong>103<\/strong><\/li>\n\n\n\n<li>Christiane MOATTI, Intertextualit\u00e9&nbsp;: Le cas Malraux&nbsp;<strong>115<\/strong><\/li>\n\n\n\n<li>Armando GNISCI, Mondanit\u00e9 de la litt\u00e9rature et d\u00e9voilement de la critique&nbsp;<strong>131<\/strong><\/li>\n\n\n\n<li>Krzysztof JAROSZ, Autour de l\u2019autot\u00e9lisme&nbsp;<strong>139<\/strong><\/li>\n\n\n\n<li>Halina SAWECKA, Invariants en tant qu\u2019objets de recherches comparatistes&nbsp;<strong>149<\/strong><\/li>\n\n\n\n<li>S\u0142awomir CIE\u015aLIKOWSKI et Teresa CIE\u015aLIKOWSKA, Le langage indirect: compr\u00e9hension et incompr\u00e9hension&nbsp;<strong>157<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, La&nbsp;<em>Pr\u00e9face<\/em>&nbsp;de&nbsp;<em>Mademoiselle de Maupin<\/em>&nbsp;: de la critique au programme litt\u00e9raire&nbsp;<strong>165<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI, Les \u00e9tudes de s\u00e9miotique th\u00e9\u00e2trale en Italie dans la derni\u00e8re d\u00e9cennie : quelques apports terminologiques&nbsp;<strong>175<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-54e542b ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-54e542b .ugb-accordion__title{line-height:1em !important}.ugb-54e542b .ugb-accordion__arrow{fill:#ffffff}.ugb-54e542b .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-54e542b.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXII (1989) &#8211; &#8220;Hiszpania II Republiki. Polityka i literatura&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Hiszpania II Republiki. Polityka i literatura<\/em>. \u2013&nbsp;<em>La Espa\u00f1a de la II Rep\u00fablica. Pol\u00edtica y literatura<\/em>.<\/p>\n\n\n\n<p>Pod redakcj\u0105 Piotra Sawickiego<\/p>\n\n\n\n<p>Materia\u0142y z sympozjum zorganizowanego przez Instytut Filologii Roma\u0144skiej Uniwersytetu Wroc\u0142awskiego i Oddzia\u0142 Zachodni Polskiego Stowarzyszenia Hispanist\u00f3w (Wroc\u0142aw, 17-18 pa\u017adziernika 1986)<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1989<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 1125)<\/p>\n\n\n\n<p>Spis tre\u015bci<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jan KIENIEWICZ, Ku nieuchronnemu starciu? Idea konfliktu Hiszpanii w rzeczywisto\u015bci II Republiki&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Anna SAWICKA, Intelektuali\u015bci i politycy w Kortezach II Republiki. Manuel Aza\u00f1a i Jos\u00e9 Mar\u00eda Gil Robles&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>Pilar GIL C\u00c1NOVAS, Intelektuali\u015bci hiszpa\u0144scy a religia w przededniu tragedii&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>Eugeniusz G\u00d3RSKI, My\u015bl marksistowska w Hiszpanii w okresie II Republiki&nbsp;<strong>33<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw CICHOWICZ, Wracaj\u0105c do Ortegi&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI, Mi\u0119dzy Republik\u0105 a frankizmem. Polityczne i moralne dylematy liberalnych pisarzy hiszpa\u0144skich w latach trzydziestych&nbsp;<strong>55<\/strong><\/li>\n\n\n\n<li>Barbara LAJBLICH, Echa my\u015bli Unamunowskiej w wizji Hiszpanii Antonia Machado&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>Zofia SZLEYEN, Federico Garc\u00eda Lorca na tle swoich czas\u00f3w&nbsp;<strong>77<\/strong><\/li>\n\n\n\n<li>Beata R\u00d3ZGA, S\u0142owa-klucze w strukturze symbolicznej&nbsp;<em>Romancero gitano<\/em>&nbsp;Federico Garcii Lorki&nbsp;<strong>85<\/strong><\/li>\n\n\n\n<li>Krystyna PYCI\u0143SKA-TAYLOR, Okres surrealistyczny w tw\u00f3rczo\u015bci Vicente Aleixandre w \u015bwietle wsp\u00f3\u0142czesnej krytyki&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Piotr FORNELSKI, Poezja i perswazja. Manipulacja j\u0119zykowa na przyk\u0142adzie kilku wybranych wierszy Miguela Hern\u00e1ndeza&nbsp;<strong>107<\/strong><\/li>\n\n\n\n<li>Ewa NAWROCKA, S\u0142owa-klucze w poezji Miguela Hern\u00e1ndeza&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Urszula ASZYK, Teatr hiszpa\u0144ski przed wojn\u0105 domow\u0105: mi\u0119dzy kryzysem i awangard\u0105&nbsp;<strong>125<\/strong><\/li>\n\n\n\n<li>Jadwiga KONIECZNA-TWARDZIKOWA, \u201eNagie cia\u0142o Mariany Pinedy\u201d. Na temat przek\u0142adu dokumentu literackiego hiszpa\u0144skiej II Republiki&nbsp;<strong>135<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-5b36c02 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-5b36c02 .ugb-accordion__title{line-height:1em !important}.ugb-5b36c02 .ugb-accordion__arrow{fill:#ffffff}.ugb-5b36c02 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-5b36c02.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXIII (1991) &#8211; El\u017cbieta Skibi\u0144ska, <em>Les \u00e9quivalents des pr\u00e9positions temporelles fran\u00e7aises dans la traduction polonaise<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>El\u017cbieta Skibi\u0144ska,&nbsp;<em>Les \u00e9quivalents des pr\u00e9positions temporelles fran\u00e7aises dans la traduction polonaise<\/em><\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1991<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 1174)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-fa946ca ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-fa946ca .ugb-accordion__title{line-height:1em !important}.ugb-fa946ca .ugb-accordion__arrow{fill:#ffffff}.ugb-fa946ca .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-fa946ca.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXIV (1991) &#8211; &#8220;\u00c9tudes litt\u00e9raires et linguistiques&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>\u00c9tudes litt\u00e9raires et linguistiques<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du tome \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1991<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1246)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw KLIMOWICZ, L\u2019Op\u00e9ra comique polonais au XVIII<sup>e<\/sup>&nbsp;si\u00e8cle et ses liaisons avec le folklore et la politique&nbsp;<strong>5<\/strong><\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Teresa KOSTKIEWICZOWA, Formes et fonctions de la critique litt\u00e9raire dans la Pologne des Lumi\u00e8res&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Przemys\u0142awa MATUSZEWSKA, L\u2019image du destinataire dans la po\u00e9sie polonaise des Lumi\u00e8res&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Zofia SINKO, Historical Motifs and Their Function in the Polish Prose of the Age of Enlightenment&nbsp;<strong>31<\/strong><\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ma\u0142gorzata TOMICKA, Entre la peinture et la litt\u00e9rature. Quelques r\u00e9flexions sur le contexte litt\u00e9raire de l\u2019\u0153uvre de Th\u00e9ophile-Alexandre Steinlen, peintre suisse (1859-1923)&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, Le motif du lac dans&nbsp;<em>La Nouvelle Helo\u00efse<\/em>&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI, Figure materne nella drammaturgia europea del primo novecento&nbsp;: Strindberg, Pirandello, Witkacy&nbsp;<strong>55<\/strong><\/li>\n\n\n\n<li>Magdalena \u015aLED\u0179, Don Juan de agua y fuego. Intento de interpretar las alusiones a la&nbsp;<em>Eneida<\/em>&nbsp;de Virgilio en&nbsp;<em>El Burlador de Sevilla<\/em>&nbsp;de Tirso de Molina&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, Impromptu \u2013 genre autoth\u00e9matique du drame&nbsp;<strong>73<\/strong><\/li>\n\n\n\n<li>Wiaczes\u0142aw NOWIKOW, La forma sint\u00e1ctica y sus elementos constitutivos (contribuci\u00f3n metodol\u00f3gica a la sintaxis de la oraci\u00f3n y de las categor\u00edas verbales)&nbsp;<strong>81<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-e4cc416 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-e4cc416 .ugb-accordion__title{line-height:1em !important}.ugb-e4cc416 .ugb-accordion__arrow{fill:#ffffff}.ugb-e4cc416 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-e4cc416.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXV (1992) &#8211; &#8220;La R\u00e9volution fran\u00e7aise et ses fantasmes dans la litt\u00e9rature&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>La R\u00e9volution fran\u00e7aise et ses fantasmes dans la litt\u00e9rature<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1992<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1246)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J\u00f3zef HEISTEIN, Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Gilbert VAN DE LOUW, La R\u00e9volution fran\u00e7aise et des fantasmes dans la litt\u00e9rature&nbsp;: le r\u00e9pertoire du th\u00e9\u00e2tre d\u2019Amsterdam&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Izabella ZATORSKA, De l\u2019utopie \u00e0 la proph\u00e9tie&nbsp;: la mutation de l\u2019utopie dans le th\u00e9\u00e2tre de la R\u00e9volution&nbsp;<strong>15<\/strong><\/li>\n\n\n\n<li>Pierre MALANDAIN, Le fantasme au c\u0153ur du r\u00e9el&nbsp;: Platon dans la R\u00e9volution fran\u00e7aise&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Un encyclop\u00e9diste dans le tourbillon de la terreur. Les m\u00e9moires d\u2019Andr\u00e9 Morellet et de J.-F. Marmontel&nbsp;<strong>33<\/strong><\/li>\n\n\n\n<li>B\u00e9atrice DIDIER, La R\u00e9volution dans le roman noir&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Claude REICHLER, Chateaubriand&nbsp;: le deuil et l\u2019expiation&nbsp;<strong>49<\/strong><\/li>\n\n\n\n<li>Jerzy PARVI, Nodier, Ballanche et leur hantise de l\u2019\u00e9chafaud&nbsp;<strong>55<\/strong><\/li>\n\n\n\n<li>Mich\u00e8le Madonna DESBAZEILLE, Le&nbsp;<em>Nouveau Monde<\/em>&nbsp;de Charles Fourier ou la R\u00e9volution Absolue des Droits de l\u2019Homme&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Maria JANION, Remigiusz FORYCKI, Le fantasme de la t\u00eate coup\u00e9e&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Ewa MUKOID, \u201eSerait-ce un Danton?\u201d&nbsp;<strong>89<\/strong><\/li>\n\n\n\n<li>Jaroslav FRY\u010cER, La prose fr\u00e9n\u00e9tique et la R\u00e9volution fran\u00e7aise&nbsp;<strong>97<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw MAKOWSKI, La&nbsp;<em>Marseillaise<\/em>&nbsp;pour les Polonais&nbsp;<strong>103<\/strong><\/li>\n\n\n\n<li>Michel VANOOSTHUYSE, Du fantasme r\u00e9volutionnaire \u00e0 la \u201eRealpolitik\u201d&nbsp;: trois fictions allemandes des ann\u00e9es 1850&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Louis ALLAIN, Le double regard de Dosto\u00efevski sur la R\u00e9volution fran\u00e7aise&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Max MILNER, L\u2019image mythique de la R\u00e9volution dans l\u2019\u0153uvre de Barbey d\u2019Aurevilly&nbsp;<strong>131<\/strong><\/li>\n\n\n\n<li>Pierre GLAUDES, La Sainte Famille et la R\u00e9volution&nbsp;<strong>141<\/strong><\/li>\n\n\n\n<li>Jean-Marie DELMAIRE, La R\u00e9volution et la France r\u00e9publicaine vues par les Juifs&nbsp;<strong>157<\/strong><\/li>\n\n\n\n<li>Aleksander AB\u0141AMOWICZ, Quand les Dieux ont soif&nbsp;<strong>167<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, L\u2019image du pouvoir et de la terreur dans le \u201eTh\u00e9\u00e2tre de la R\u00e9volution\u201d de S. Przybyszewska&nbsp;<strong>177<\/strong><\/li>\n\n\n\n<li>Mireille REVOL CAPPELLETTI, R\u00e9volution, Spiritualit\u00e9, Po\u00e9sie&nbsp;: Pierre Jean Jouve&nbsp;<strong>187<\/strong><\/li>\n\n\n\n<li>Daniel LEUWERS, La R\u00e9volution comme sacrifice&nbsp;<strong>199<\/strong><\/li>\n\n\n\n<li>Marian \u015aCIEPURO, La vision de la Grande R\u00e9volution fran\u00e7aise dans l\u2019\u0153uvre de Paul Antokolski&nbsp;<strong>205<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, La R\u00e9volution et le th\u00e9\u00e2tre dans le th\u00e9\u00e2tre&nbsp;<strong>217<\/strong><\/li>\n\n\n\n<li>Micha\u0142 MROZOWICKI, L\u2019image de la R\u00e9volution fran\u00e7aise dans&nbsp;<em>Les Fleurs bleues<\/em>&nbsp;de Raymond Queneau&nbsp;<strong>223<\/strong><\/li>\n\n\n\n<li>Max MILNER, Conclusion du colloque&nbsp;<strong>235<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-8a1ec8f ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-8a1ec8f .ugb-accordion__title{line-height:1em !important}.ugb-8a1ec8f .ugb-accordion__arrow{fill:#ffffff}.ugb-8a1ec8f .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-8a1ec8f.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXVI (1991) &#8211; &#8220;Formes litt\u00e9raires br\u00e8ves&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Formes litt\u00e9raires br\u00e8ves<\/em><\/p>\n\n\n\n<p>Actes du colloque organis\u00e9 par l\u2019Universit\u00e9 Blaise Pascal en coop\u00e9ration avec l\u2019Universit\u00e9 Clermont-Ferrand, 29 novembre au 2 d\u00e9cembre 1989<\/p>\n\n\n\n<p>\u00c9diteurs du volume \u2013 J\u00f3zef Heistein et Alain Montandon<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1991<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1300)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>J\u00f3zef HEISTEIN, Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Alain MONTANDON, Pr\u00e9face&#8230; br\u00e8ve&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Jacques-Philippe SAINT-GERAND, Subsistances et transformations&nbsp;: la th\u00e9orisation des formes br\u00e8ves dans les manuels de rh\u00e9torique du XIX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, \u00c0 propos des th\u00e9ories polonaises sur les formes litt\u00e9raires br\u00e8ves&nbsp;<strong>21<\/strong><\/li>\n\n\n\n<li>Daniel MADEL\u00c9NAT, Formes br\u00e8ves de la biographie&nbsp;: essai de g\u00e9n\u00e9alogie et de classement&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Ann MOSS, Du lieu commun \u00e0 la maxime&nbsp;: de la renaissance au monde classique&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>Christian MONCELET, \u00c0 travers un \u00e9trange proverbier&nbsp;<strong>53<\/strong><\/li>\n\n\n\n<li>Yves REUTER, R\u00eaves et litt\u00e9rature. \u00c0 propos de George Perec,&nbsp;<em>La boutique obscure<\/em>&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>Alain PETIT, La bri\u00e8vet\u00e9 h\u00e9raclit\u00e9enne&nbsp;<strong>77<\/strong><\/li>\n\n\n\n<li>Yves SINTUREL, Char le bref. Quelques remarques sur la bri\u00e8vet\u00e9 dans la po\u00e9sie de R. Char&nbsp;<strong>89<\/strong><\/li>\n\n\n\n<li>Renata MODRZEWSKA, Dramaticules de Samuel Beckett&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Camillo FAVERZANI, Deux nouvelles-manifestes de Marguerite Yourcenar&nbsp;<strong>115<\/strong><\/li>\n\n\n\n<li>Juli\u00e1n Mateo BALLORCA, Le narrateur s\u2019esquive&nbsp;: les r\u00e9cits de No\u00ebl Devaulx&nbsp;<strong>123<\/strong><\/li>\n\n\n\n<li>G\u00e9rard LOUBINOUX, Le texte de l\u2019air d\u2019op\u00e9ra ou l\u2019esth\u00e9tique du prolongement&nbsp;<strong>133<\/strong><\/li>\n\n\n\n<li>Evelyne MARTIN-HERNANDEZ, Parabole et blasph\u00e8me chez Blas de Otero&nbsp;:&nbsp;<em>Par\u00e1bolas y dezires<\/em>&nbsp;<strong>155<\/strong><\/li>\n\n\n\n<li>Jean PABION, Les synth\u00e8ses du th\u00e9\u00e2tre futuriste italien&nbsp;<strong>167<\/strong><\/li>\n\n\n\n<li>Robert SMADJA, Jean Follain et le ha\u00efku&nbsp;<strong>181<\/strong><\/li>\n\n\n\n<li>Alain MONTANDON, La bri\u00e8vet\u00e9 du diariste&nbsp;: Joubert et Handke&nbsp;<strong>189<\/strong><\/li>\n\n\n\n<li>H\u00e9l\u00e8ne ROL-TANGUY, Les&nbsp;<em>Instantan\u00e9s<\/em>&nbsp;du romancier sovi\u00e9tique Youri Bondarev&nbsp;<strong>199<\/strong><\/li>\n\n\n\n<li>Sophie OLLIVIER, L\u2019art du fragment dans les r\u00e9cits de K. Paoustovski&nbsp;<strong>207<\/strong><\/li>\n\n\n\n<li>G\u00e9rard THI\u00c9RIOT, Contre le \u00ab&nbsp;neuro-r\u00e9alisme&nbsp;\u00bb&nbsp;: quelques r\u00e9flexions sur le minidrame de langue allemande (Botho Strauss et Hans Carl Artmann)&nbsp;<strong>217<\/strong><\/li>\n\n\n\n<li>Jacques LAJARRIGE, Les formes lyriques br\u00e8ves de tradition japonaise chez les po\u00e8tes d\u2019expression allemande&nbsp;: H. C. Artmann, E. Jandl, O. Pastior et F. C. Delius&nbsp;<strong>227<\/strong><\/li>\n\n\n\n<li>Roger BAUER, Le po\u00e8me en prose autrichien&nbsp;: de Baudelaire \u00e0 Peter Altenberg&nbsp;<strong>239<\/strong><\/li>\n\n\n\n<li>Paul LEVAYER, Le&nbsp;<em>diable amoureux<\/em>&nbsp;ou l\u2019illusion ma\u00eetresse&nbsp;<strong>255<\/strong><\/li>\n\n\n\n<li>Nicole GUEUNIER, Une forme br\u00e8ve&nbsp;: la par\u00e9mie d\u2019origine \u00e9vang\u00e9lique et son usage dans les titres litt\u00e9raires en fran\u00e7ais&nbsp;<strong>261<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-da62136 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-da62136 .ugb-accordion__title{line-height:1em !important}.ugb-da62136 .ugb-accordion__arrow{fill:#ffffff}.ugb-da62136 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-da62136.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXVII (1992) &#8211; &#8220;Metodolog\u00eda de la ense\u00f1anza de la lengua espa\u00f1ola. Teor\u00eda y pr\u00e1ctica&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Metodolog\u00eda de la ense\u00f1anza de la lengua espa\u00f1ola. Teor\u00eda y pr\u00e1ctica<\/em>.<\/p>\n\n\n\n<p>Actas del Seminario organizado por la Universidad de Wroc\u0142aw y la Asociaci\u00f3n Polaca de Hispanistas (Wroc\u0142aw \u2013 Karpacz, 22-26 de septiembre de 1987)<\/p>\n\n\n\n<p>R\u00e9dacteurs du volume \u2013 Wiaczes\u0142aw Nowikow, Abel A. Murcia Soriano<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1992<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1301)<\/p>\n\n\n\n<p>\u00cdndice<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Advertencia preliminar&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Jerzy \u017bEBROWSKI, An\u00e1lisis del vocabulario utilizado en algunos manuales polacos de espa\u00f1ol para principiantes&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Jerzy ZYBERT, Algunas observaciones sobre la ense\u00f1anza del vocabulario espa\u00f1ol&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>Pilar Gil C\u00c1NOVAS, La traducci\u00f3n en la ense\u00f1anza&nbsp;: sentir la belleza de las palabras&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Abel A. MURCIA SORIANO, Ka\u017cdy \/ cada, todo, cualquiera&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>Wiaczes\u0142aw NOWIKOW, Sobre el acento fon\u00e9tico y ortogr\u00e1fico en la ense\u00f1anza del espa\u00f1ol&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>S\u0142awomir BAZYLKO, El art\u00edculo y sus semejantes (determinaci\u00f3n espec\u00edfica del sustantivo) en el espa\u00f1ol de hoy&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Zygmunt WOJSKI, La ense\u00f1anza de los tiempos del pasado a los alumnos polacos&nbsp;<strong>35<\/strong><\/li>\n\n\n\n<li>Agustina L\u00d3PEZ TORIBIO, Nuevos m\u00e9todos para la ense\u00f1anza del espa\u00f1ol como lengua extranjera&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Maria Ma\u0142gorzata KOSZLA, M\u00e9todo comunicativo de ense\u00f1anza del espa\u00f1ol con enfoque real y cognoscitivo&nbsp;<strong>45<\/strong><\/li>\n\n\n\n<li>Fernando HERV\u00c1S, Eliseo PIC\u00d3, Merc\u00e8 VILARRUBIAS, Una experiencia de autonom\u00eda en E\/LE&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Jerzy SZA\u0141EK, La geograf\u00eda de Espa\u00f1a como parte de la ense\u00f1anza del espa\u00f1ol en los estudios hisp\u00e1nicos de la Universidad A. Mickiewicz de Pozna\u0144&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI, La realidad espa\u00f1ola contempor\u00e1nea y la ense\u00f1anza del idioma (proyecto de una antolog\u00eda)&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Waldo Cerezo RUBIO, El v\u00eddeo&nbsp;: un medio al servicio de la ense\u00f1anza de lenguas&nbsp;<strong>69<\/strong><\/li>\n\n\n\n<li>Anna WAWRYKOWICZ, Utilizaci\u00f3n de medios auditivos en la ense\u00f1anza del espa\u00f1ol&nbsp;<strong>77<\/strong><\/li>\n\n\n\n<li>Alicja B\u0104CZYK-TOMASZEWSKA, Tipos de ejercicios m\u00e1s \u00fatiles en la ense\u00f1anza del espa\u00f1ol&nbsp;<strong>81<\/strong><\/li>\n\n\n\n<li>Piotr FORNELSKI, Construir el lenguaje. Una concepci\u00f3n del manual&nbsp;<strong>87<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-e327383 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-e327383 .ugb-accordion__title{line-height:1em !important}.ugb-e327383 .ugb-accordion__arrow{fill:#ffffff}.ugb-e327383 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-e327383.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXVIII (1991) &#8211; &#8220;Litt\u00e9rature et Institutions&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Litt\u00e9rature et Institutions<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw \u2013 Paris 1991<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1321)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Alain VIALA, Institutions et usages litt\u00e9raires&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Claude AZIZA, Les Chr\u00e9tiens aux lions&nbsp;: un fantasme d\u2019histoire dans le roman sulpicien&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>Aleksander Wit LABUDA, La litt\u00e9rature en situation scolaire &#8211; l\u2019arch\u00e9type gr\u00e9co-romain&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Yves REUTER, Pour une approche des biens litt\u00e9raires&nbsp;<strong>31<\/strong><\/li>\n\n\n\n<li>Monique SANTUCCI, Joutes et Pas&nbsp;: jeux ou politique?&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Hanna DZIECHCI\u0143SKA, Les \u00e9coles des j\u00e9suites et la culture des spectacles dans l\u2019Ancienne Pologne&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Teresa KOSTKIEWICZOWA, Remarques sur les rapports entre la litt\u00e9rature et les institutions dans la p\u00e9riode des Lumi\u00e8res polonaises&nbsp;<strong>61<\/strong><\/li>\n\n\n\n<li>Marcin CIE\u0143SKI, Les institutions dans la culture litt\u00e9raire du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle. Deux exemples&nbsp;: la Pologne et l\u2019Allemagne&nbsp;<strong>73<\/strong><\/li>\n\n\n\n<li>Roger FAYOLLE, R\u00e9flexions sur la d\u00e9finition de la litt\u00e9rature fran\u00e7aise dans les programmes des lyc\u00e9es fran\u00e7ais \u00e0 la fin du XIX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>85<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, La litt\u00e9rature fran\u00e7aise vue par les professeurs de fran\u00e7ais en Pologne (Galicie 1897-1914)&nbsp;<strong>93<\/strong><\/li>\n\n\n\n<li>Pascaline MOURIER-CASILE, L\u2019art et ses institutions dans le discours critique d\u2019Andr\u00e9 Breton&nbsp;<strong>105<\/strong><\/li>\n\n\n\n<li>J\u00f3zef HEISTEIN, La politique culturelle et la r\u00e9ception de la litt\u00e9rature fran\u00e7aise en Pologne dans les ann\u00e9es 1950-1960&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Ren\u00e9 GODENNE, Sur un non-statut&nbsp;: la nouvelle fran\u00e7aise de 1940 \u00e0 1986&nbsp;<strong>131<\/strong><\/li>\n\n\n\n<li>Ren\u00e9 GARGUILO, Un personnage de roman&nbsp;: Monsieur le Maire&nbsp;<strong>139<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-720d21a ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-720d21a .ugb-accordion__title{line-height:1em !important}.ugb-720d21a .ugb-accordion__arrow{fill:#ffffff}.ugb-720d21a .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-720d21a.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XXXIX<\/strong> <strong>(1992)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteurs du volume \u2013 Aleksander Labuda et Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1992<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1391)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Les syntagmes fran\u00e7ais r\u00e9gis par les pr\u00e9positions&nbsp;<em>sans<\/em>&nbsp;et&nbsp;<em>avec<\/em>&nbsp;dans la traduction polonaise&nbsp;<strong>3<\/strong><\/li>\n\n\n\n<li>Anna SAKOWSKA, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>z(e)<\/em>&nbsp;+ g\u00e9nitif au sens causal<strong>&nbsp;19<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Stefan KAUFMAN, Adaptation syntaxique des verbes fran\u00e7ais en polonais&nbsp;<strong>33<\/strong><\/li>\n\n\n\n<li>El\u017cbieta MIELCZAREK, Le radio, document authentique sonore dans l\u2019enseignement du FLE&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw CHOMICZ, Sartre \u2013 monologuiste ou dialoguiste? Ou sur l\u2019inefficacit\u00e9 d\u2019une dychotomie appliqu\u00e9e \u00e0 la litt\u00e9rature&nbsp;<strong>75<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-dcf7692 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-dcf7692 .ugb-accordion__title{line-height:1em !important}.ugb-dcf7692 .ugb-accordion__arrow{fill:#ffffff}.ugb-dcf7692 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-dcf7692.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XL (1992) &#8211; Edmund Sikora, <em>Organisation et structure de la strate s\u00e9mique des verbes de mouvement fran\u00e7ais. Contribution \u00e0 une linguistique stratificationnelle<\/em><\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Edmund Sikora,&nbsp;<em>Organisation et structure de la strate s\u00e9mique des verbes de mouvement fran\u00e7ais. Contribution \u00e0 une linguistique stratificationnelle<\/em>.<\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 J\u00f3zef Heistein<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1992<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 1422)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-381a47f ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-381a47f .ugb-accordion__title{line-height:1em !important}.ugb-381a47f .ugb-accordion__arrow{fill:#ffffff}.ugb-381a47f .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-381a47f.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLI (1996) &#8211; &#8220;M\u00e9langes de langue et de litt\u00e9rature offerts au Professeur J\u00f3zef Heistein&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>M\u00e9langes de langue et de litt\u00e9rature offerts au Professeur J\u00f3zef Heistein<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 Aleksander Wit Labuda<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1996<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1738)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Aleksander Wit LABUDA, J\u00f3zef Heistein. Notice biographique&nbsp;<strong>7<\/strong><\/li>\n<\/ul>\n\n\n\n<p>J\u00f3zef Heistein. Bibliographie des travaux&nbsp;<strong>9<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Beata BACZY\u0143SKA, Corresponsales polacos de Don Marcelino Men\u00e9ndez Pelayo&nbsp;: Wincenty Lutos\u0142awski, Sof\u00eda Casanova de Lutos\u0142awski y Edward Por\u0119bowicz&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Les syntagmes fran\u00e7ais r\u00e9gis par&nbsp;<em>hors<\/em>&nbsp;(<em>de<\/em>) exprimant l\u2019exception dans la traduction en polonais&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Andrzej CIE\u0143SKI, Wiersze egzystencjalne Konstantego Ildefonsa Ga\u0142czy\u0144skiego&nbsp;<strong>37<\/strong><\/li>\n\n\n\n<li>Marcin CIE\u0143SKI, Opowiadanie i dialog w&nbsp;<em>Kubusiu Fatali\u015bcie<\/em>&nbsp;Denisa Diderota, czyli uwagi o odmianach powie\u015bciowej mowy&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Jean EHRARD, Soldat et citoyen&nbsp;: d\u00e8s Lumi\u00e8res \u00e0 la R\u00e9volution&nbsp;<strong>61<\/strong><\/li>\n\n\n\n<li>R\u00e9mi FORYCKI, Stendhal \u2013 \u00e9tude pour un autoportrait&nbsp;<strong>73<\/strong><\/li>\n\n\n\n<li>Edmond GOGOLEWSKI, L\u2019\u00e9volution de la communaut\u00e9 catholique polonaise dans les grands centres miniers et industriels en France&nbsp;: l\u2019exemple de la paroisse du Sacr\u00e9-C\u0153ur de Harnes, dans le d\u00e9partement du Pas-de-Calais&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Sante GRACIOTTI, L\u2019eredit\u00e0 rinascimentale nel barocco ucraino&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Horst HEINTZE, Bedichtete Musik&nbsp;: zum Verh\u00e4ltnis von Marino und Monteverdi&nbsp;<strong>113<\/strong><\/li>\n\n\n\n<li>Norbert HONSZA, Anio\u0142 milcza\u0142. Kilka uwag o odkurzonej prozie Heinricha B\u00f6lla&nbsp;<strong>121<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw INGLOT, Norwidowska idea okr\u0105g\u0142ego sto\u0142u&nbsp;<strong>129<\/strong><\/li>\n\n\n\n<li>Mieczys\u0142aw KLIMOWICZ, Dylematy komparatysty \u2013 historyka literatury polskiej XVIII wieku&nbsp;<strong>137<\/strong><\/li>\n\n\n\n<li>Ewa KULAK,&nbsp;<em>Kronika paryzka<\/em>&nbsp;de Zofia W\u0119gierska, un regard sur la culture fran\u00e7aise du Second Empire&nbsp;<strong>145<\/strong><\/li>\n\n\n\n<li>Eva KUSHNER, The classical sub-text in the work of Christine de Pisan&nbsp;<strong>159<\/strong><\/li>\n\n\n\n<li>Michel LIOURE, Claudel et la Pologne&nbsp;<strong>167<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, Carlo Goldoni librettista nella Polonia del Settecento&nbsp;<strong>179<\/strong><\/li>\n\n\n\n<li>Daniel MADEL\u00c9NAT, Biographies postmodernes&nbsp;<strong>191<\/strong><\/li>\n\n\n\n<li>Bruno DE MARCHI, Un tumore nella memoria&nbsp;<strong>203<\/strong><\/li>\n\n\n\n<li>Micha\u0142 MICHALAK, Les fautes d\u2019accents sur la lettre&nbsp;<em>e<\/em>&nbsp;chez les Polonais \u00e9tudiant le fran\u00e7ais&nbsp;<strong>233<\/strong><\/li>\n\n\n\n<li>Krystyna MODRZEJEWSKA, Le personnage dans le th\u00e9\u00e2tre de Jean Giraudoux&nbsp;<strong>243<\/strong><\/li>\n\n\n\n<li>Alain MONTANDON, Pour une socio-po\u00e9tique de la fl\u00e2nerie&nbsp;<strong>251<\/strong><\/li>\n\n\n\n<li>Liana NISSIM, L\u2019avventurosa impresa. Riflessioni su una poesia di Mario Luzi&nbsp;<strong>265<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata NOWAKOWSKA, Les noms de sentiments en fran\u00e7ais et en italien&nbsp;<strong>277<\/strong><\/li>\n\n\n\n<li>Wiaczes\u0142aw NOWIKOW, Pragm\u00e1tica del tratamiento pronominal metaf\u00f3rico&nbsp;<strong>289<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Les maximes dans&nbsp;<em>La Princesse de Cl\u00e8ves<\/em>&nbsp;<strong>297<\/strong><\/li>\n\n\n\n<li>Larysa PISAREK, Miejsce podzi\u0119kowania w strukturze dialogu rosyjskiego&nbsp;<strong>309<\/strong><\/li>\n\n\n\n<li>Alicja RYCHLEWSKA-DELIMAT, Le valet dans la tradition du th\u00e9\u00e2tre classique&nbsp;<strong>319<\/strong><\/li>\n\n\n\n<li>Piotr SALWA,&nbsp;<em>Il Pecorone<\/em>&nbsp;e i barbagianni&nbsp;<strong>329<\/strong><\/li>\n\n\n\n<li>Luis S\u00c1NCHEZ FRANCISCO, Cultura e identidad&nbsp;: ensayo filos\u00f3fico&nbsp;<strong>339<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI,&nbsp;<em>Podr\u00f3\u017c po Hiszpanii<\/em>&nbsp;Jana Stelli-Sawickiego: hiszpa\u0144skie korespondencje Wasilija Botkina w XIX-wiecznym polskim przebraniu&nbsp;<strong>349<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, L\u2019image du pain dans les expressions fig\u00e9es polonaises et fran\u00e7aises&nbsp;<strong>367<\/strong><\/li>\n\n\n\n<li>W\u0142odzimierz J. SZYMANIAK, Luis Vaz de Cam\u00f5es \u2013 \u017ceglarz i trubadur&nbsp;<strong>379<\/strong><\/li>\n\n\n\n<li>Florian \u015aMIEJA, Poes\u00eda popular religiosa y Alonso de Ledesma&nbsp;<strong>385<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, Les d\u00e9buts de la r\u00e9ception critique de Baudelaire en Pologne&nbsp;<strong>395<\/strong><\/li>\n\n\n\n<li>Jan TRZYNADLOWSKI, Wspomnienie o Apollinairze&nbsp;<strong>409<\/strong><\/li>\n\n\n\n<li>Joanna UGNIEWSKA, La fortuna di Giacomo Leopardi in Polonia dal decadentismo ai nostri giorni&nbsp;<strong>417<\/strong><\/li>\n\n\n\n<li>Jacques VOISINE, Les derni\u00e8res lettres (1775-1778) de Jean-Jacques Rousseau dans le contexte des&nbsp;<em>Dialogues<\/em>&nbsp;et des&nbsp;<em>R\u00eaveries<\/em>&nbsp;<strong>425<\/strong><\/li>\n\n\n\n<li>Hana VOISINE-JECHOVA, De&nbsp;<em>La Belle et La B\u00eate<\/em>&nbsp;au&nbsp;<em>Baiser au l\u00e9preux<\/em>&nbsp;<strong>445<\/strong><\/li>\n\n\n\n<li>Hanna WA\u0141K\u00d3WSKA, Z dziej\u00f3w orientalistyki polskiej. Wizerunek indianisty&nbsp;<strong>467<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw WID\u0141AK, Aspects psycho-sociaux de l\u2019acte dialogu\u00e9 de parole&nbsp;<strong>475<\/strong><\/li>\n\n\n\n<li>Beata ZAK\u0118S-JAQUET, Mi\u0142o\u015b\u0107, w\u0142adza i \u015bmier\u0107: mit In\u00e9s de Castro w literaturze&nbsp;<strong>485<\/strong><\/li>\n\n\n\n<li>El\u017cbieta ZAWISZA, Du&nbsp;<em>parler de la femme<\/em>&nbsp;au&nbsp;<em>parler-femme<\/em>&nbsp;dans&nbsp;<em>L\u2019\u00c9migr\u00e9<\/em>&nbsp;de G. S\u00e9nac de Meilhan&nbsp;<strong>493<\/strong><\/li>\n\n\n\n<li>Andrzej ZIELI\u0143SKI, Dalle letture italiane di G. Herling-Grudzi\u0144ski: Ignazio Silone&nbsp;<strong>509<\/strong><\/li>\n\n\n\n<li>Krzysztof \u017bABOKLICKI, Antonio Fogazzaro e la critica polacca (dalla fine dell\u2019ottocento alla seconda guerra mondiale)&nbsp;<strong>525<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-183bbd5 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-183bbd5 .ugb-accordion__title{line-height:1em !important}.ugb-183bbd5 .ugb-accordion__arrow{fill:#ffffff}.ugb-183bbd5 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-183bbd5.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLII<\/strong> <strong>(1996)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Pr\u00e9sent\u00e9 par Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1996<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1742)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Les moyens de traduire en polonais les syntagmes fran\u00e7ais r\u00e9gis par&nbsp;<em>sauf<\/em>&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>El\u017cbieta PACHOCI\u0143SKA, Sur les crit\u00e8res de classement des pr\u00e9positions&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Anna SAKOWSKA, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>za<\/em>&nbsp;+ accusatif au sens causal<strong>&nbsp;33<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA,&nbsp;<em>Il y a<\/em>&nbsp;w polskiej praktyce przek\u0142adowej&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK,&nbsp;<em>Au<\/em>&nbsp;<em>bout de&nbsp;<\/em>dans la traduction polonaise&nbsp;<strong>79<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, R\u00f4le et signification des digressions dans la structure de&nbsp;<em>La Princesse de Cl\u00e8ves<\/em>&nbsp;<strong>87<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-100dc24 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-100dc24 .ugb-accordion__title{line-height:1em !important}.ugb-100dc24 .ugb-accordion__arrow{fill:#ffffff}.ugb-100dc24 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-100dc24.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLIII<\/strong> <strong>(1997)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Pr\u00e9sent\u00e9 par Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1997<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1845)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan KAUFMAN, De quelques traductions \u00ab&nbsp;obliques&nbsp;\u00bb du g\u00e9rondif fran\u00e7ais en polonais&nbsp;<strong>5<\/strong><\/li>\n\n\n\n<li>Anna SAKOWSKA, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>od<\/em>&nbsp;(+g\u00e9nitif) au sens causal<strong>&nbsp;23<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Un \u00e9quivalent polonais de&nbsp;<em>on<\/em>&nbsp;+ verbe&nbsp;: V<sub><em>-no\/-to<\/em><\/sub>&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, La traduction en polonais des locutions pr\u00e9positives&nbsp;<em>\u00e0 la suite de<\/em>&nbsp;et&nbsp;<em>par suite de&nbsp;<\/em><strong>51<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, La traduction en polonais de quelques locutions pr\u00e9positives fran\u00e7aises construites avec&nbsp;<em>bout<\/em>&nbsp;<strong>61<\/strong><\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Carl VETTERS, Temps et fiction&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Marek TOMASZEWSKI, Le triptyque flamand de Marquerite Yourcenar&nbsp;<strong>105<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-0454d1c ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-0454d1c .ugb-accordion__title{line-height:1em !important}.ugb-0454d1c .ugb-accordion__arrow{fill:#ffffff}.ugb-0454d1c .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-0454d1c.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLIV (1997) &#8211; &#8220;Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel<\/strong>&#8220;<\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel<\/em><\/p>\n\n\n\n<p>Pr\u00e9sent\u00e9 par El\u017cbieta Skibi\u0144ska<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1997<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1990)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta SKIBI\u0143SKA, Avant-propos&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Wojciech SOLI\u0143SKI, Przek\u0142ady literatury pi\u0119knej jako \u017ar\u00f3d\u0142o wiedzy o innej kulturze (wprowadzenie)&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>Anna D\u0104BROWSKA, Frazemy w nowomowie oficjalnej i w literaturze polskiej&nbsp;<strong>15<\/strong><\/li>\n\n\n\n<li>Marcin CIE\u0143SKI, Stereotypy dotycz\u0105ce kulturowej rzeczywisto\u015bci Peerelu w&nbsp;<em>Kompleksie polskim<\/em>&nbsp;i w&nbsp;<em>Ma\u0142ej apokalipsie<\/em>&nbsp;Tadeusza Konwickiego&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>Stanis\u0142aw BERE\u015a, Manipulacja i szyfr: polska literatura wsp\u00f3\u0142czesna w lustrze przek\u0142adu&nbsp;<strong>41<\/strong><\/li>\n\n\n\n<li>Maryla LAURENT, L\u2019\u00e9criture \u201cimpressionniste\u201d de Tadeusz Konwicki dans un fran\u00e7ais \u201ccart\u00e9sien\u201d&nbsp;<strong>53<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, La veille de No\u00ebl dans une file d\u2019attente \u2013 version fran\u00e7aise. Le&nbsp;<em>Complexe polonais<\/em>&nbsp;: traduction &#8211; gu\u00e9rison&nbsp;<strong>69<\/strong><\/li>\n\n\n\n<li>Laurence DY\u00c8VRE, Le domaine de l\u2019intraduisible&nbsp;: sacrifice ou peur de l\u2019\u00e9chec? Pourquoi priver les Fran\u00e7ais d\u2019un My\u015bliwski ou d\u2019un Redli\u0144ski&nbsp;<strong>85<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, La fin de la Seconde Guerre Mondiale en Pologne \u00e0 travers la traduction fran\u00e7aise de&nbsp;<em>Cendres et diamant<\/em>&nbsp;de Jerzy Andrzejewski, par Jerzy Lisowski&nbsp;<strong>93<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, L\u2019int\u00e9r\u00eat d\u2019une lecture parall\u00e8le en trois langues&nbsp;: Pawe\u0142 Huelle et Marek H\u0142asko entre le polonais, le fran\u00e7ais et l\u2019italien&nbsp;<strong>117<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, Rozpoznawanie \u201ewarszawsko\u015bci\u201d we francuskim t\u0142umaczeniu&nbsp;<em>Z\u0142ego<\/em>&nbsp;Leopolda Tyrmanda&nbsp;<strong>133<\/strong><\/li>\n\n\n\n<li>Marek TOMASZEWSKI, Witold Gombrowicz est-il devenu un auteur fran\u00e7ais?&nbsp;<strong>145<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-8a70924 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-8a70924 .ugb-accordion__title{line-height:1em !important}.ugb-8a70924 .ugb-accordion__arrow{fill:#ffffff}.ugb-8a70924 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-8a70924.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLV<\/strong> <strong>(1998)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Pr\u00e9sent\u00e9 par Eugeniusz Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 1998<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 1995)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>Articles<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika GRABOWSKA, Autour de l\u2019id\u00e9e de violence \u2013 probl\u00e8mes de la d\u00e9limitation du champ s\u00e9mantique et lexical<em>&nbsp;<\/em><strong>7<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Le multilexique comparatif de Jacques Fran\u00e7ois \u2013 pr\u00e9sentation de la m\u00e9thode&nbsp;<strong>15<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, Fonctions actancielles dans le domaine des verbes de transfert&nbsp;: approche localiste&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Un \u00e9quivalent polonais de&nbsp;<em>on<\/em>&nbsp;+ verbe&nbsp;: infinitif&nbsp;<strong>31<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK,&nbsp;<em>Du c\u00f4t\u00e9 de<\/em>&nbsp;dans les traductions polonaises&nbsp;<strong>45<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Les \u00e9quivalents polonais des locutions&nbsp;<em>en forme de<\/em>,&nbsp;<em>sous forme de<\/em>&nbsp;et&nbsp;<em>sous la forme de<\/em>&nbsp;<strong>55<\/strong><\/li>\n\n\n\n<li>Carl VETTERS, Le traitement du pass\u00e9 simple en FLE&nbsp;: quelques erreurs \u00e0 \u00e9viter&nbsp;<strong>65<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Comptes rendus<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Carl Vetters&nbsp;:&nbsp;<em>Temps, aspect et narration<\/em>, 1996, Editions Rodopi B. V., Amsterdam, Atlanta, G. A.&nbsp;<strong>89<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-60b8cad ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-60b8cad .ugb-accordion__title{line-height:1em !important}.ugb-60b8cad .ugb-accordion__arrow{fill:#ffffff}.ugb-60b8cad .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-60b8cad.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLVI (2000) &#8211; &#8220;Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel&nbsp;(II)&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Traduction comme moyen de communication interculturelle. Questions de socio-pragmatique du discours interculturel<\/em>&nbsp;(II)<\/p>\n\n\n\n<p>Pr\u00e9sent\u00e9 par El\u017cbieta Skibi\u0144ska et Ma\u0142gorzata Tomicka<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2000<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2223)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta SKIBI\u0143SKA, Ma\u0142gorzata TOMICKA, Avant-propos&nbsp;<strong>7<\/strong><\/li>\n<\/ul>\n\n\n\n<p>PREMI\u00c8RE PARTIE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Marek TOMASZEWSKI, Entre la mise en abyme et le tableau de la soci\u00e9t\u00e9 varsovienne : la version fran\u00e7aise de&nbsp;<em>Miazga<\/em>&nbsp;de Jerzy Andrzejewski&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ,&nbsp;<em>My sweet Raskolnikow<\/em>&nbsp;mi\u0119dzy orygina\u0142em a przek\u0142adem na j\u0119zyk francuski&nbsp;<strong>27<\/strong><\/li>\n\n\n\n<li>Ma\u0142gorzata TOMICKA, \u015awiat znak\u00f3w i aluzji literackich we francuskim t\u0142umaczeniu&nbsp;<em>Z\u0142ego<\/em>&nbsp;Leopolda Tyrmanda&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>Laurence DY\u00c8VRE, Du&nbsp;<em>Huiti\u00e8me jour de la semaine<\/em>&nbsp;\u00e0&nbsp;<em>l\u2019Impossible Dimanche<\/em>, ou des d\u00e9sarrois du lecteur fran\u00e7ais face \u00e0 l\u2019implicite de Marek H\u0142asko&nbsp;<strong>65<\/strong><\/li>\n\n\n\n<li>Maryla LAURENT-ZIELI\u0143SKA, La litt\u00e9rature post-apocalyptique. Du&nbsp;<em>Szczur<\/em>&nbsp;de Zaniewski aux&nbsp;<em>M\u00e9moires d\u2019un rat<\/em>. Le passage d\u2019une quasi-langue \u00e0 une langue litt\u00e9raire&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, T\u0142umacz w gabinecie krzywych zwierciade\u0142: schy\u0142ek komunizmu w nowomowie w\u0142adzy i w spojrzeniu widza naiwnego (O t\u0142umaczeniu powie\u015bci Janusza G\u0142owackiego&nbsp;<em>Moc truchleje<\/em>)&nbsp;<strong>93<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, T\u0142umacz pozbawiony j\u0119zyka. Problem stylizacji mowy postaci we francuskich przek\u0142adach powie\u015bci Tadeusza Konwickiego&nbsp;<strong>121<\/strong><\/li>\n<\/ul>\n\n\n\n<p>DEUXI\u00c8ME PARTIE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maryla LAURENT-ZIELI\u0143SKA, Le traducteur, son v\u00e9cu, ses opinions&nbsp;<strong>147<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Anna POSNER, Maryla LAURENT-ZIELI\u0143SKA, Entretiens d\u2019automne&nbsp;<strong>151<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Marek TOMASZEWSKI, De la traduction \u00e0 la fiction : la silhouette interdisciplinaire d\u2019Alain Van Crugten&nbsp;<strong>161<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Alain Van CRUGTEN, Marek TOMASZEWSKI, Entretien&nbsp;<strong>168<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ma\u0142gorzata TOMICKA, Muzyczne tropy w&nbsp;<em>Z\u0142ym<\/em>&nbsp;Tyrmanda: przek\u0142ad francuski wobec orygina\u0142u&nbsp;<strong>181<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Un homme digne de ce nom ou un simple imb\u00e9cile? Images et lectures de Maciek Che\u0142micki en Pologne et en France&nbsp;<strong>201<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA,&nbsp;<em>Ma\u0142a Apokalipsa<\/em>&nbsp;po francusku&nbsp;<strong>219<\/strong><\/li>\n\n\n\n<li>Beata BACZY\u0143SKA,&nbsp;<em>Ma\u0142a Apokalipsa<\/em>&nbsp;po hiszpa\u0144sku&nbsp;<strong>241<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ,&nbsp;<em>Ma\u0142a Apokalipsa<\/em>&nbsp;po w\u0142osku&nbsp;<strong>257<\/strong><\/li>\n\n\n\n<li>Wojciech SOLI\u0143SKI,&nbsp;<em>Ma\u0142a Apokalipsa<\/em>&nbsp;po czesku&nbsp;<strong>273<\/strong><\/li>\n\n\n\n<li>Dariusz BRALEWSKI, Les expressions fig\u00e9es dans la po\u00e9sie de Wis\u0142awa Szymborska&nbsp;: probl\u00e8mes de traduction&nbsp;<strong>281<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-47c23dc ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-47c23dc .ugb-accordion__title{line-height:1em !important}.ugb-47c23dc .ugb-accordion__arrow{fill:#ffffff}.ugb-47c23dc .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-47c23dc.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLVII<\/strong> <strong>(2001)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteur du volume \u2013 Edmund Sikora<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2001<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2299)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Quelques remarques sur&nbsp;<em>hormis<\/em>&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Structure d\u2019une base de donn\u00e9es terminologique&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Les Fran\u00e7ais et les Polonais pleurent-ils les m\u00eames larmes? St\u00e9r\u00e9otype des larmes en fran\u00e7ais et en polonais&nbsp;<strong>27<\/strong><\/li>\n\n\n\n<li>Monika KACZMAREK, Les personnifications dans la premi\u00e8re partie du&nbsp;<em>Roman de la Rose<\/em>&nbsp;\u2013 la symbolique des couleurs&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Riccardo CAMPA, Federigo Enriques e l\u2019abito della sincerit\u00e0<strong>&nbsp;65<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-3d3b2a1 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-3d3b2a1 .ugb-accordion__title{line-height:1em !important}.ugb-3d3b2a1 .ugb-accordion__arrow{fill:#ffffff}.ugb-3d3b2a1 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-3d3b2a1.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLVIII<\/strong> <strong>(2002)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteur du volume \u2013 El\u017cbieta Biardzka<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2002<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2334)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>LINGUISTIQUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, La temporalit\u00e9 d\u2019incertitude dans&nbsp;<em>Rue des Boutiques Obscures<\/em>&nbsp;de Patrick Modiano&nbsp;: la traduction polonaise de certains temps grammaticaux&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>Xavier CHANTRY, Emplois de l\u2019onomatop\u00e9e dans la bande dessin\u00e9e&nbsp;fran\u00e7aise<em>&nbsp;<\/em><strong>25<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Champs s\u00e9masiologique du verbe&nbsp;<em>szarpa\u0107<\/em>. L\u2019adaptation de l\u2019algorithme CIPreST au lexique verbal polonais&nbsp;<strong>49<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Natalia PAPROCKA, Entre base de donn\u00e9es terminologique et dictionnaire. \u00c9laboration du microglossaire de la civilisation antique romaine&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Anna SAKOWSKA, Les \u00e9quivalents fran\u00e7ais de la pr\u00e9position polonaise&nbsp;<em>przez<\/em>&nbsp;(+accusatif) au sens causal<strong>&nbsp;81<\/strong><\/li>\n<\/ul>\n\n\n\n<p>LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide ARTICO, Negli occhi tuoi ridenti e fuggitivi&nbsp;<strong>95<\/strong><\/li>\n\n\n\n<li>Ewa KULAK, La vie quotidienne en voyage vers la fin du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle \u00e0 la lumi\u00e8re du&nbsp;<em>Guide des voyageurs en Europe<\/em>&nbsp;de H.A.O. Reichard&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, Entre l\u2019<em>Amphitryon<\/em>&nbsp;de Moli\u00e8re et l\u2019<em>Amfitrio<\/em>&nbsp;de Zab\u0142ocki&nbsp;<strong>123<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-d8601bc ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-d8601bc .ugb-accordion__title{line-height:1em !important}.ugb-d8601bc .ugb-accordion__arrow{fill:#ffffff}.ugb-d8601bc .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-d8601bc.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia XLIX (2002)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2002<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2448)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>LINGUISTIQUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Xavier CHANTRY, Justyna POLA\u0143SKA, Traduire les onomatop\u00e9es en bande dessin\u00e9e&nbsp;: exemple des traductions polonaise et espagnole d\u2019<em>Ast\u00e9rix en Hispanie&nbsp;<\/em><strong>9<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Le monde viril dans&nbsp;<em>Kompleks polski<\/em>&nbsp;de Tadeusz Konwicki et dans sa traduction fran\u00e7aise. Analyse des formes adressives&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Probl\u00e8mes d\u2019application de la m\u00e9thode terminologique \u00e0 un domaine d\u2019histoire&nbsp;: vers le dictionnaire franco-polonais de la civilisation antique romaine&nbsp;<strong>35<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Offre d\u2019emploi&nbsp;: mod\u00e8les fran\u00e7ais et polonais. Une \u00e9tude contrastive&nbsp;<strong>49<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, Les contrastes franco-polonais dans les circonstants temporels avec les noms des parties de la journ\u00e9e&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>Carl VETTERS, Remarques sur l\u2019analyse reichenbachienne des temps verbaux&nbsp;<strong>93<\/strong><\/li>\n<\/ul>\n\n\n\n<p>LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja PAW\u0141OWSKA, Huet et Du Plaisir&nbsp;: l\u2019\u00e9volution des th\u00e9ories romanesques de l\u2019\u00e9poque classique&nbsp;<strong>135<\/strong><\/li>\n\n\n\n<li>Justyna POLA\u0143SKA, El traductor individualista contra el paso del tiempo&nbsp;: la versi\u00f3n polaca de&nbsp;<em>El perro del hortelano<\/em>&nbsp;<strong>149<\/strong><\/li>\n\n\n\n<li>Justyna ZIARKOWSKA, Paradigmas especiales y la simbolog\u00eda en&nbsp;<em>La casa de Bernarda Alba<\/em>&nbsp;<strong>161<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-ed828c2 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-ed828c2 .ugb-accordion__title{line-height:1em !important}.ugb-ed828c2 .ugb-accordion__arrow{fill:#ffffff}.ugb-ed828c2 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-ed828c2.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia L (2003)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteur du volume \u2013 Witold Ucherek<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2003<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2540)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>LINGUISTIQUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Les pr\u00e9positions \u00e0 double face&nbsp;:&nbsp;<em>\u00e0 part<\/em>&nbsp;et&nbsp;<em>en dehors de<\/em>. Mod\u00e8les scientifiques face \u00e0 l\u2019expression linguistique&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Le tutoiement et le vouvoiement dans la perspective didactique&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Winnie-the-Pooh, Kubu\u015b Puchatek, Fredzia Phi-Phi et Winnie l\u2019Ourson&nbsp;: s\u2019agit-il du m\u00eame personnage?&nbsp;<strong>31<\/strong><\/li>\n\n\n\n<li>Natalia PAPROCKA, L\u2019erreur en traduction dans la r\u00e9flexion traductologique&nbsp;<strong>43<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, La version polonaise de&nbsp;<em>J\u2019aime lire<\/em>&nbsp;: un apprentissage indirect de la civilisation fran\u00e7aise?&nbsp;<strong>65<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, Probl\u00e8mes de d\u00e9limitation des pr\u00e9positions compos\u00e9es&nbsp;<strong>77<\/strong><\/li>\n<\/ul>\n\n\n\n<p>LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna BIERNACKA-LICZNAR, Antonio Fogazzaro: problemi di ricerca&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Katarzyna BIERNACKA-LICZNAR, L\u2019immagine dell\u2019emigrante italiano nelle opere degli autori italo-americani&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>Anna CZY\u017b, D\u00e9passer le tabou \u2013 actes de cannibalisme en Nouvelle-France&nbsp;<strong>129<\/strong><\/li>\n\n\n\n<li>Bruno DONDERI, Quelques exemples de captivit\u00e9 dans le roman fran\u00e7ais \u00e0 la fin du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>153<\/strong><\/li>\n\n\n\n<li>Ludovico FULCI, Reminiscenze, atmosfere ed echi gozzaniani nel&nbsp;<em>Gattopardo<\/em>&nbsp;di Giuseppe Tomasi di Lampedusa&nbsp;<strong>187<\/strong><\/li>\n\n\n\n<li>Aleksander Wit LABUDA, Vertige sensuel et appel mystique dans un paysage de Verlaine&nbsp;<strong>195<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Le pr\u00e9ambule de&nbsp;<em>Macarise<\/em>&nbsp;et la th\u00e9orie romanesque de d\u2019Aubignac&nbsp;<strong>203<\/strong><\/li>\n\n\n\n<li>Krzysztof JAROSZ, J\u00f3zef Kwaterko,&nbsp;<em>Dialogi z Ameryk\u0105. O frankofo\u0144skiej literaturze w Quebecu i na Karaibach<\/em>&nbsp;[<em>Dialogues avec l\u2019Am\u00e9rique.&nbsp;<\/em><em>De la litt\u00e9rature francophone au Qu\u00e9bec et dans les Cara\u00efbes<\/em>], Universitas, Krak\u00f3w 2003 (Compte-rendu)&nbsp;<strong>211<\/strong><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-6a26015 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-6a26015 .ugb-accordion__title{line-height:1em !important}.ugb-6a26015 .ugb-accordion__arrow{fill:#ffffff}.ugb-6a26015 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-6a26015.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LI (2004) &#8211; &#8220;Volume d\u00e9di\u00e9 au Professeur J\u00f3zef Heistein \u00e0 l\u2019occasion de ses 80 ans&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>Volume d\u00e9di\u00e9 au Professeur J\u00f3zef Heistein \u00e0 l\u2019occasion de ses 80 ans<\/p>\n\n\n\n<p>R\u00e9dacteurs du volume \u2013 Justyna \u0141ukaszewicz et Stefan Kaufman<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2004<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 2667)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>LINGUISTIQUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide ARTICO, Lessico di origine germanica nell\u2019italiano medievale&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Le \u00ab&nbsp;<em>Monde<\/em>&nbsp;\u00bb du&nbsp;<em>d\u00e9j\u00e0 dit<\/em>. Typographie au service de l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 \u00e9nonciative dans la presse&nbsp;<strong>23<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Quelques remarques sur la place des pronoms de la troisi\u00e8me personne dans l\u2019interaction verbale&nbsp;<strong>33<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Le microsyst\u00e8me notionnel du tourisme et sa description terminographique&nbsp;<strong>49<\/strong><\/li>\n\n\n\n<li>Claire R\u00c9TAT-FRYDRYSZAK, La philologie romane en Europe centrale et en France au XIX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>75<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, Traduire en polonais&nbsp;<em>on<\/em>&nbsp;dans sa sp\u00e9cificit\u00e9 delermienne: une t\u00e2che impossible&nbsp;?&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Regina SOLOV\u00c1, L\u2019humour vianesque dans les traductions polonaises&nbsp;<strong>101<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, La construction&nbsp;<em>\u00e0<\/em>&nbsp;+ adjectif +&nbsp;<em>coups<\/em>&nbsp;+&nbsp;<em>de<\/em>&nbsp;dans la traduction polonaise&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p>LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna BIERNACKA-LICZNAR, Due vite due realt\u00e0&nbsp;: il caso di Pascal D\u2019Angelo \u2013 il poeta sconosciuto?&nbsp;<strong>141<\/strong><\/li>\n\n\n\n<li>Bruno DONDERI, Images de la R\u00e9volution am\u00e9ricaine dans le roman&nbsp;<em>Honorine Clarins<\/em>&nbsp;de P.J.-B. Nougaret&nbsp;<strong>151<\/strong><\/li>\n\n\n\n<li>Ludovico FULCI, Forme, temi e caratteri della filosofia italiana dal Medioevo agli inizi dell\u2019et\u00e0 contemporanea&nbsp;<strong>165<\/strong><\/li>\n\n\n\n<li>Joanna JAKUBOWSKA-CICHO\u0143, L\u2019incompl\u00e9tude dans&nbsp;<em>Moderato Cantabile<\/em>&nbsp;de Marguerite Duras \u2013 aspects linguistiques&nbsp;<strong>179<\/strong><\/li>\n\n\n\n<li>Diana KOZI\u0143SKA-DONDERI, Tra parole e immagini \u2013 Itinerari artistici di Joanna Pollak\u00f3wna&nbsp;<strong>193<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI,&nbsp;<em>Mont-Oriol<\/em>&nbsp;: come ti invento una citt\u00e0 termale&nbsp;<strong>201<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, La v\u00e9rit\u00e9 et la vraisemblance, l\u2019histoire et le roman dans quelques \u00e9crits th\u00e9oriques du XVII<sup>e<\/sup>&nbsp;si\u00e8cle (Camus, d\u2019Aubignac, Huet)&nbsp;<strong>213<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide&nbsp;<strong>ARTICO<\/strong>, Lessico di origine germanica nell\u2019italiano medievale&nbsp;<strong>9<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>NIEKT\u00d3RE PRZYK\u0141ADY LEKSYKALNYCH WP\u0141YW\u00d3W&nbsp;J\u0118ZYK\u00d3W GERMA\u0143SKICH NA \u015aREDNIOWIECZNE&nbsp;J\u0118ZYKI ROMA\u0143SKIE W ITALII<\/p>\n\n\n\n<p>Zagadnienie leksykalnych wp\u0142yw\u00f3w j\u0119zyk\u00f3w germa\u0144skich na w\u0142oski jest bardzo z\u0142o\u017cone&nbsp;pod wzgl\u0119dem synchronicznym i diachronicznym. Z jednej strony bowiem wp\u0142ywy zacz\u0119\u0142y si\u0119&nbsp;ju\u017c w V w. n.e. i trwaj\u0105 do dzi\u015b, z drugiej za\u015b nie dotycz\u0105 tylko nowo\u015bci technicznych, lecz r\u00f3w\u00adnie\u017c dziedzin, w kt\u00f3rych od dawna istnieje bogate s\u0142ownictwo roma\u0144skie.<\/p>\n\n\n\n<p>W artykule om\u00f3wione s\u0105 cztery odr\u0119bne problemy historii j\u0119zyka, a mianowicie: wp\u0142yw&nbsp;\u015bredniowiecznej dwubiegunowej kultury roma\u0144sko-germa\u0144skiej na j\u0119zyki P\u00f3\u0142wyspu Apeni\u0144\u00adskiego do VIII wieku, funkcje denotacyjne i konotacyjne zapo\u017cycze\u0144 z j\u0119zyk\u00f3w germa\u0144skich,&nbsp;poszczeg\u00f3lne aspekty fonologiczne w procesie przekszta\u0142cania germa\u0144skich wyraz\u00f3w w j\u0119zy\u00adkach roma\u0144skich&nbsp;Italiioraz przyk\u0142ady germa\u0144skich zapo\u017cycze\u0144 w j\u0119zyku toska\u0144skim w XIII w.<\/p>\n\n\n\n<p>Nieunikniony problem metodologiczny zwi\u0105zany z badaniami w tym zakresie stanowi brak&nbsp;oryginalnych tekst\u00f3w w j\u0119zykach germa\u0144skich, kt\u00f3rymi pos\u0142ugiwano si\u0119 w wiekach \u015brednich na P\u00f3\u0142wyspie Apeni\u0144skim. Z tego powodu przyk\u0142adowe wyrazy analizowane w artykule s\u0105 forma\u00admi zrekonstruowanymi lub pochodz\u0105 ze \u015bredniowiecznych tekst\u00f3w germa\u0144skich odnalezionych&nbsp;w innych krajach Europy.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>BIARDZKA<\/strong>, Le \u00ab&nbsp;<em>Monde<\/em>&nbsp;\u00bb du&nbsp;<em>d\u00e9j\u00e0 dit<\/em>. Typographie au service de l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 \u00e9nonciative dans la presse&nbsp;<strong>23<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>TYPOGRAFIA NA US\u0141UGACH POLIFONII. NA PRZYK\u0141ADZIE DZIENNIKA \u201eLE MONDE\u201d<\/p>\n\n\n\n<p>Autorka zajmuje si\u0119 znakami typograficznymi stosowanymi w renomowanym francuskim dzienniku \u201eLe Monde\u201d. Jej zdaniem znaki te maj\u0105 przede wszystkim za zadanie uwypukli\u0107&nbsp;polifoniczny charakter zawartego w gazecie przekazu informacji. Polifonia rozumiana jest tu za Bachtinem jako w\u0142a\u015bciwo\u015b\u0107 ka\u017cdego tekstu. S\u0142owa, kt\u00f3rych u\u017cywa nadawca, nigdy nie s\u0105 s\u0142owami nowymi &#8211; ju\u017c gdzie\u015b, kiedy\u015b przez kogo\u015b zosta\u0142y wypowiedziane i echa tych wcze\u015bniejszych wypowiedzi pobrzmiewaj\u0105 w wypowiedzi w\u0142a\u015bnie tworzonej. Nadawca mo\u017ce jedy\u00adnie bardziej lub mniej \u015bwiadomie i bardziej lub mniej jednoznacznie sygnalizowa\u0107 odbiorcy, \u017ce w jego tek\u015bcie chodzi o s\u0142owo cudze, jedynie przytoczone. Wyznacznikami tej \u201ecudzo\u015bci\u201d w analizowanej gazecie s\u0105 dwa rodzaje znak\u00f3w: cudzys\u0142\u00f3w i kursywa.<\/p>\n\n\n\n<p>W wielu kontekstach r\u00f3\u017cnych przytocze\u0144 (mowa niezale\u017cna, tzw. wyspy tekstowe) te dwa znaki wsp\u00f3\u0142wyst\u0119puj\u0105. Chodzi wtedy o graficzne wyr\u00f3\u017cnienie s\u0142\u00f3w cytowanych \u201ena \u017cywo\u201d, bezpo\u015brednio i natychmiast, w niewielkim odst\u0119pie czasowym mi\u0119dzy ich wypowiedzeniem a ich publikacj\u0105.<\/p>\n\n\n\n<p>W innych kontekstach wyst\u0119puje jedynie cudzys\u0142\u00f3w, kursywa za\u015b zanika. Nale\u017cy tu rozr\u00f3\u017cni\u0107 trzy sytuacje. W pierwszej chodzi o przytoczenie czyjej\u015b wypowiedzi lub sformu\u0142owania, kt\u00f3re nie ma ju\u017c charakteru newsa, lecz, kojarzone z okre\u015blon\u0105 sytuacj\u0105 komunikacyjn\u0105, zostaje przechowane w magazynie spo\u0142ecznej \u015bwiadomo\u015bci j\u0119zykowej i dzi\u0119ki temu przytoczo\u00adne w wypowiedzi w\u0142a\u015bnie tworzonej. W drugiej sytuacji mamy do czynienia z zabiegiem dziennikarskim &#8211; rodzajem \u201eprzytoczenia z przytoczenia\u201d. Kr\u00f3tko m\u00f3wi\u0105c, w tytule lub w podtytule dziennikarz umieszcza w cudzys\u0142owie cytat z obszerniejszych cytat\u00f3w zamieszczonych w tek\u015bcie g\u0142\u00f3wnym. Wreszcie w trzeciej sytuacji, kt\u00f3ra dotyczy jedynie \u201ewysp tekstowych\u201d, cu\u00addzys\u0142\u00f3w odsy\u0142a do pewnego dziennikarskiego metaj\u0119zykowego komentarza odnosz\u0105cego si\u0119 do s\u0142\u00f3w u\u017cytych w opisie jakich\u015b zdarze\u0144 &#8211; z braku innych, \u201elepszych\u201d s\u0142\u00f3w &#8211; kt\u00f3rych ade\u00adkwatno\u015b\u0107, z r\u00f3\u017cnych powod\u00f3w, budzi w\u0105tpliwo\u015bci. W tym ostatnim przypadku g\u0142os dzienni\u00adkarza zdecydowanie wzmacnia silnie polifoniczny charakter prasowego tekstu.<\/p>\n\n\n\n<p>Tekst prasowy zdaje si\u0119 re\u017cyserowa\u0107 i przedstawia\u0107 rodzaj rozpisanego na wiele g\u0142os\u00f3w spektaklu s\u0142owa.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>GRABOWSKA<\/strong>, Quelques remarques sur la place des pronoms de la troisi\u00e8me personne dans l\u2019interaction verbale&nbsp;<strong>33<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>KILKA UWAG NA TEMAT ZAIMK\u00d3W TRZECIEJ OSOBY W INTERAKCJI S\u0141OWNEJ<\/p>\n\n\n\n<p>W teorii Emile&#8217;a Benveniste&#8217;a zaimek&nbsp;<em>il<\/em>&nbsp;pe\u0142ni w pewnej mierze funkcj\u0119 s\u0142u\u017cebn\u0105 wo\u00adbec&nbsp;<em>je&nbsp;<\/em>i&nbsp;<em>tu.&nbsp;<\/em>W niniejszym artykule pragniemy udowodni\u0107, \u017ce zaimek trzeciej osoby nie jest wy\u0142\u0105czony z interakcji. Na przyk\u0142adach zaczerpni\u0119tych ze sztuki teatralnej Rogera Vitraca&nbsp;<em>Victor ou les enfants au pouvoir&nbsp;<\/em>(1928) pokazujemy, \u017ce&nbsp;<em>il&nbsp;<\/em>mo\u017ce zast\u0105pi\u0107 zar\u00f3wno pierwsz\u0105, jak i drug\u0105 osob\u0119. Rozwa\u017cania te prowadz\u0105 nas do pr\u00f3by opracowania stereotypu zaimka trzeciej osoby w interakcji s\u0142ownej.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan&nbsp;<strong>KAUFMAN<\/strong>, Le microsyst\u00e8me notionnel du tourisme et sa description terminographique&nbsp;<strong>49<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE CONCEPTUAL FIELD OF THE TOURISM AND ITS TERMINOGRAPHICAL DESCRIPTION<\/p>\n\n\n\n<p>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&nbsp;<em>Recommendations on Tourism Statistics&nbsp;<\/em>published by World Tourism Organization (in French). Drawing up the con\u00adceptual 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 con\u00adcepts) and the influence which the application of them can have on the definition. Moreover, the analysis of the field \u201ctourism\u201d shows that the main rule of classification is the \u201cpoint of view\u201d of the tourism organisers, what in some points leads to upsetting the purely logical criteria.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Claire&nbsp;<strong>R\u00c9TAT-FRYDRYSZAK<\/strong>, La philologie romane en Europe centrale et en France au XIX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>75<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ROMANCE PHILOLOGY IN FRANCE AND CENTRAL EUROPE IN THE 19th CENTURY<\/p>\n\n\n\n<p>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 \u201c<sup>t<\/sup>German\u201d 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 \u201cphilology\u201d 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.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>SKIBI\u0143SKA<\/strong>, Traduire en polonais&nbsp;<em>on<\/em>&nbsp;dans sa sp\u00e9cificit\u00e9 delermienne: une t\u00e2che impossible&nbsp;?&nbsp;<strong>83<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p><em>ON&nbsp;<\/em>PHILIPPE&#8217;A DELERMA W POLSKIM PRZEK\u0141ADZIE<\/p>\n\n\n\n<p>Ze wzgl\u0119du na swoje uzale\u017cnienie od kontekstu, umo\u017cliwiaj\u0105ce r\u00f3\u017cne interpretacje odniesie\u0144, francuski zaimek nieosobowy&nbsp;<em>on&nbsp;<\/em>mo\u017ce stanowi\u0107 interesuj\u0105cy \u015brodek konstruowania \u015bwiata przedstawionego. Przyk\u0142adem jest jego wykorzystanie przez Philippe&#8217;a Delerma w zbio\u00adrze miniopowiada\u0144&nbsp;<em>La premi\u00e8re gorg\u00e9e de bi\u00e8re et autres plaisirs minuscules,&nbsp;<\/em>gdzie&nbsp;<em>on&nbsp;<\/em>jest jedy\u00adnym elementem odsy\u0142aj\u0105cym do g\u0142\u00f3wnej postaci. Jednocze\u015bnie za\u015b te mo\u017cliwo\u015bci interpreta\u00adcyjne zaimka mog\u0105 stanowi\u0107 \u017ar\u00f3d\u0142o trudno\u015bci w przek\u0142adzie. Celem artyku\u0142u jest sprawdzenie, jak r\u00f3\u017cne sposoby t\u0142umaczenia zaimka&nbsp;<em>on&nbsp;<\/em>funkcjonuj\u0105 w przek\u0142adzie opowiadania&nbsp;<em>Inhalation.<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Regina&nbsp;<strong>SOLOV\u00c1<\/strong>, L\u2019humour vianesque dans les traductions polonaises&nbsp;<strong>101<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>HUMOR BORISA VIANA W POLSKICH PRZEK\u0141ADACH<\/p>\n\n\n\n<p>Autorka pr\u00f3buje odpowiedzie\u0107 na pytanie, czy i w jakim stopniu humor s\u0142owny Borisa Viana jest przek\u0142adalny. Klasyfikacja i analiza gier s\u0142ownych, neologizm\u00f3w, zniekszta\u0142ce\u0144 dzieci\u0119cych wyliczanek oraz nazw w\u0142asnych ukazuje przede wszystkim wielo\u015b\u0107 strategii stosowa\u00adnych przez t\u0142umaczy (zachowanie sensu i\/lub mechanizmu orygina\u0142u, kompensacja itp.). Nie\u00adliczne potkni\u0119cia t\u0142umaczy nie zaburzaj\u0105 humorystycznego wyd\u017awi\u0119ku powie\u015bci Viana, o czym \u015bwiadcz\u0105 przytoczone recenzje m\u0142odych polskich czytelnik\u00f3w.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Witold&nbsp;<strong>UCHEREK<\/strong>, La construction&nbsp;<em>\u00e0<\/em>&nbsp;+ adjectif +&nbsp;<em>coups<\/em>&nbsp;+&nbsp;<em>de<\/em>&nbsp;dans la traduction polonaise&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>KONSTRUKCJA&nbsp;<em>\u00c1<\/em>&nbsp;+ PRZYMIOTNIK +&nbsp;<em>COUPS<\/em>&nbsp;+&nbsp;<em>DE<\/em>&nbsp;W T\u0141UMACZENIU NA J\u0118ZYK POLSKI<\/p>\n\n\n\n<p>Przedmiotem artyku\u0142u jest francuska konstrukcja&nbsp;<em>\u00e0<\/em>&nbsp;+ przymiotnik +&nbsp;<em>coups<\/em>&nbsp;+&nbsp;<em>de<\/em>. W szczeg\u00f3lno\u015bci chodzi o ustalenie paradygmatu przymiotnikowego, tzn. okre\u015blenie, jakie przymiotniki mog\u0105 wyst\u0105pi\u0107 w charakterze rozwini\u0119cia rzeczownika&nbsp;<em>coups<\/em>. Analiza korpusu&nbsp;wykazuje, \u017ce paradygmat \u00f3w tworz\u0105&nbsp;<em>grands (\u00e0 grands coups de), petits (\u00e0 petits coups de), longs (\u00e0 longs coups de)&nbsp;<\/em>i&nbsp;<em>larges (<\/em><em>\u00e0<\/em><em>&nbsp;larges coups de).&nbsp;<\/em>Najcz\u0119\u015bciej wyst\u0119puj\u0105c\u0105 konstrukcj\u0105 jest&nbsp;<em>\u00e0 grands coups de.&nbsp;<\/em>Z analizy polskich przek\u0142ad\u00f3w konstrukcji&nbsp;<em>\u00e0 +&nbsp;<\/em>przymiotnik +&nbsp;<em>coups&nbsp;<\/em>+&nbsp;<em>de&nbsp;<\/em>wynika brak kategorialnych algorytm\u00f3w przek\u0142adowych, poniewa\u017c nie ma w polszczy\u017anie odpowie\u00addnik\u00f3w o podobnym znaczeniu i dystrybucji. T\u0142umacz\u0105c&nbsp;<em>\u00e0 grands coups de,&nbsp;<\/em>nale\u017cy w pierw\u00adszej kolejno\u015bci wybra\u0107 odpowiednik rzeczownika&nbsp;<em>coup.&nbsp;<\/em>Na \u00f3w wyb\u00f3r wp\u0142ywa rzeczownik sta\u00adnowi\u0105cy prawostronny kontekst&nbsp;<em>\u00e0 grands coups de<\/em>.W zale\u017cno\u015bci od sposobu przek\u0142adu&nbsp;<em>coup&nbsp;<\/em>wybiera si\u0119 odpowiednik przymiotnika&nbsp;<em>grand<\/em>.W rezultacie otrzymujemy bardzo zr\u00f3\u017cnicowa\u00adne odpowiedniki wyra\u017cenia&nbsp;<em>\u00e0 grands coups de<\/em>:od grup nominalnych w narz\u0119dniku po ca\u0142e zdania z czasownikiem oddaj\u0105cym cz\u0119\u015bciowo znaczenie tej konstrukcji.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna&nbsp;<strong>BIERNACKA-LICZNAR<\/strong>, Due vite due realt\u00e0&nbsp;: il caso di Pascal D\u2019Angelo \u2013 il poeta sconosciuto?&nbsp;<strong>141<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>PASCAL D&#8217;ANGELO &#8211; POETA NIEZNANY<\/p>\n\n\n\n<p>Artyku\u0142 po\u015bwi\u0119cony jest Pascalowi D\u2019Angelo i historii emigracji w\u0142oskiej w Stanach Zjed\u00adnoczonych w latach 1910-1921.<\/p>\n\n\n\n<p>Pascal D\u2019Angelo (1894-1932), poeta i pisarz samouk, urodzi\u0142 si\u0119 w Introdacqua (L\u2019Aquila) w 1894 roku. W 1910 roku wyemigrowa\u0142 razem ze swoim ojcem do Stan\u00f3w Zjednoczonych, gdzie pracowa\u0142 jako robotnik i odkry\u0142 swoje zami\u0142owanie do poezji. Przyby\u0142 do Ameryki, jak wielu innych m\u0142odych ludzi, z nadziej\u0105 na polepszenie swojej sytuacji ekonomicznej i z ch\u0119ci\u0105 zmiany swojego dotychczasowego \u017cycia. W 1918 roku podj\u0105\u0142 pierwsze pr\u00f3by literackie, kt\u00f3re nie doczeka\u0142y si\u0119 jednak publikacji. Pod koniec 1921 roku zaprezen\u00adtowa\u0142 trzy poezje na konkursie og\u0142oszonym przez gazet\u0119 \u201eThe Nation\u201d. Dzi\u0119ki dyrektorowi czasopisma, Carlowi Van Dorenowi, D\u2019Angelo zosta\u0142 zauwa\u017cony przez ameryka\u0144sk\u0105 publiczno\u015b\u0107. Jego poezje zosta\u0142y opublikowane i spotka\u0142y si\u0119 z gor\u0105cym przyj\u0119ciem ameryka\u0144skiej krytyki. W 1924 roku ukaza\u0142a si\u0119 jego powie\u015b\u0107 autobiograficzna&nbsp;<em>Son of Italy,&nbsp;<\/em>w kt\u00f3rej D\u2019Angelo opisuje swoje rodzinne strony, \u017cycie w Abruzzo, jak r\u00f3wnie\u017c swoje \u017cycie jako emigran\u00adta, problemy robotnik\u00f3w w Stanach Zjednoczonych.<\/p>\n\n\n\n<p>\u017bycie Pascala D\u2019Angelo jest niezapomnianym przyk\u0142adem realizacji marze\u0144 biednego w\u0142oskiego ch\u0142opaka, a zarazem autentycznym g\u0142osem emigranta, kt\u00f3ry ukazuje nam swoje do\u015bwiadczenia emigracyjne.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bruno&nbsp;<strong>DONDERI<\/strong>, Images de la R\u00e9volution am\u00e9ricaine dans le roman&nbsp;<em>Honorine Clarins<\/em>&nbsp;de P.J.-B. Nougaret&nbsp;<strong>151<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Riassunto<\/p>\n\n\n\n<p>IMMAGINI DELLA RIVOLUZIONE AMERICANA NEL ROMANZO&nbsp;<em>HONORINE CLARINS&nbsp;<\/em>DI P.J.-B. NOUGARET<\/p>\n\n\n\n<p>Nel presente articolo, dopo aver sinteticamente esposto l\u2019argomento, abbiamo citato le opere narrative rappresentative del genere, soffermandoci, in seguito sull\u2019analisi del romanzo&nbsp;<em>Honorine Clarins&nbsp;<\/em>di Nougaret. Abbiamo trattato dei diversi aspetti della narrazione, sunteggiando a grandi linee l\u2019argomento ed esaminando alcuni aspetti topici e ricorrenti in altre produzioni letterarie. L\u2019immagine dell\u2019America, della Rivoluzione americana e dei suoi principali attori, presente nell\u2019ambito della storia narrata, \u00e8 stata letta alla luce della confrontazione con altri testi coevi di carattere non finzionale. Dopo queste premesse, abbiamo trat\u00adtato delle \u201eutopie\u201d dell\u2019autore &#8211; e della loro fragilit\u00e0 &#8211; che si evincono dalle trame del narrato, segnatamente quella riguardante il destino dell\u2019Indiano americano, visto attraverso il prisma di un sostanziale ottimismo da parte del Nostro suggeritogli dalle pi\u00f9 recenti conquiste democratiche e libertarie ottenute dai nascenti Stati Uniti d&#8217;America.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ludovico&nbsp;<strong>FULCI<\/strong>, Forme, temi e caratteri della filosofia italiana dal Medioevo agli inizi dell\u2019et\u00e0 contemporanea&nbsp;<strong>165<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FORMS, SUBJECTS AND ASPECTS OF ITALIAN PHILOSOPHY FROM MIDDLE AGES TO THE 20th CENTURY<\/p>\n\n\n\n<p>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&nbsp;so-called<em>&nbsp;Ancien R\u00e9gime.&nbsp;<\/em>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.<\/p>\n\n\n\n<p>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&nbsp;<em>doubt,&nbsp;<\/em>that gives special forms and aspects to the Italian culture, with its own sensibility to&nbsp;<em>doubt.<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Joanna&nbsp;<strong>JAKUBOWSKA-CICHO<\/strong><strong>\u0143<\/strong>, L\u2019incompl\u00e9tude dans&nbsp;<em>Moderato Cantabile<\/em>&nbsp;de Marguerite Duras \u2013 aspects linguistiques&nbsp;<strong>179<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>J\u0118ZYKOWE ASPEKTY NIEDOPOWIEDZE\u0143 W&nbsp;<em>MODERATO CANTABILE&nbsp;<\/em>MARGUERITE DURAS<\/p>\n\n\n\n<p>Ka\u017cde dzie\u0142o literackie jest ze swej natury niekompletne, co znaczy, \u017ce zawiera niesko\u0144\u00adczon\u0105 ilo\u015b\u0107 miejsc niedookre\u015blenia. Roman Ingarden nazywa tekst \u201eszkieletem\u201d, kt\u00f3ry czytel\u00adnik konkretyzuje wed\u0142ug w\u0142asnych do\u015bwiadcze\u0144 i umiej\u0119tno\u015bci. Umberto Eco natomiast&nbsp;nazywa tekst \u201emechanizmem leniwym\u201d, kt\u00f3ry chce powiedzie\u0107 tylko tyle, ile musi, aby by\u0107&nbsp;zrozumianym. Miejsca niedookre\u015blenia mog\u0105 jednak pojawi\u0107 si\u0119 w tek\u015bcie jako element \u015bwia\u00addomej strategii dyskursywnej, kt\u00f3ra ma zach\u0119ci\u0107 czytelnika do aktywnego udzia\u0142u w aktuali\u00adzowaniu tekstu. Takie niedopowiedzenia, kt\u00f3re mo\u017cna nazwa\u0107 strategicznymi, s\u0105 podstawo\u00adwym \u017ar\u00f3d\u0142em napi\u0119cia, jakie tworzy si\u0119 w procesie czytania. Mog\u0105 one pojawia\u0107 si\u0119 na r\u00f3\u017c\u00adnych poziomach utworu: j\u0119zykowym, narracyjnym oraz znaczeniowym.&nbsp;<em>Moderato Cantabile&nbsp;<\/em>Marguerite Duras jest powie\u015bci\u0105, w kt\u00f3rej niedopowiedzenia strategiczne s\u0105 cech\u0105 dominu\u00adj\u0105c\u0105 i dotycz\u0105 wszystkich poziom\u00f3w utworu. W warstwie j\u0119zykowej -ju\u017c na poziomie poszcze\u00adg\u00f3lnych zda\u0144 &#8211; mo\u017cna wyr\u00f3\u017cni\u0107 liczne \u015brodki, dzi\u0119ki kt\u00f3rym powstaj\u0105 miejsca niedookre\u015blenia utrudniaj\u0105ce zrozumienie opowiedzianej historii.&nbsp;<em>Moderato Cantabile&nbsp;<\/em>nie jest jednak po\u00adwie\u015bci\u0105 nieczyteln\u0105 &#8211; autorka daje uwa\u017cnemu czytelnikowi szans\u0119 na uzupe\u0142nienie cz\u0119\u015bci nie\u00addopowiedze\u0144. Robi to przede wszystkim za pomoc\u0105 powt\u00f3rzenia, kt\u00f3re, podobnie jak niedopowiedzenie, jest w\u0142a\u015bciwo\u015bci\u0105 ka\u017cdego dzie\u0142a, ale mo\u017ce te\u017c by\u0107 elementem \u015bwiadomej strategii. W&nbsp;<em>Moderato Cantabile&nbsp;<\/em>powt\u00f3rzenia nie s\u0105 przypadkowe i spe\u0142niaj\u0105 przede wszyst\u00adkim funkcj\u0119 informacyjn\u0105: pomagaj\u0105 zrozumie\u0107 histori\u0119 czytelnikowi zdezorientowanemu nadmiarem niedopowiedze\u0144.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Diana&nbsp;<strong>KOZI\u0143SKA-DONDERI<\/strong>, Tra parole e immagini \u2013 Itinerari artistici di Joanna Pollak\u00f3wna&nbsp;<strong>193<\/strong><\/li>\n<\/ul>\n\n\n\n<p>R\u00e9sum\u00e9<\/p>\n\n\n\n<p>LA PAROLE ET L\u2019IMAGE &#8211; ITIN\u00c9RAIRES ARTISTIQUES DE JOANNA POLLAK\u00d3WNA<\/p>\n\n\n\n<p>Cet article est consacr\u00e9 \u00e0 Joanna Pollak\u00f3wna en tant que critique d&#8217;art et, en particulier \u00e0 ses essais sur la peinture italienne, n\u00e9s de la reflexion d\u2019une po\u00e9tesse qui sait joindre, avec bonheur, inspiration po\u00e9tique, sens esth\u00e9tique et connaissances techniques. Apr\u00e8s avoir fix\u00e9 les termes de l\u2019<em>ekphrasis&nbsp;<\/em>comme genre litt\u00e9raire, poss\u00e9dant une \u00e9tendue qui d\u00e9passe les d\u00e9finitions communes, nous avons essay\u00e9 d\u2019en retrouver les caract\u00e8res originels et, en m\u00eame temps novateurs, \u00e0 travers la \u201electure\u201d de Joanna Pollak\u00f3wna. Nous avons decel\u00e9 les traits saillants de sa prose po\u00e9tique, en proposant au lecteur des \u00e9chantillons de ses ouvrages &#8211; en particulier de&nbsp;<em>Weneckie t\u0119sknoty &#8211;&nbsp;<\/em>o\u00f9 se manifeste sa sensibilit\u00e9 critique ainsi que le pouvoir \u00e9vocateur de la parole po\u00e9tique.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maurizio&nbsp;<strong>MAZZINI<\/strong>,&nbsp;<em>Mont-Oriol<\/em>&nbsp;: come ti invento una citt\u00e0 termale&nbsp;<strong>201<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p><em>MONT-ORIOL:&nbsp;<\/em>JAK WYMY\u015aLI\u0106 UZDROWISKO<\/p>\n\n\n\n<p>Powie\u015b\u0107 Guy de Maupassanta&nbsp;<em>Mont-Oriol&nbsp;<\/em>zajmuje szczeg\u00f3lne miejsce w\u015br\u00f3d dzie\u0142 literackich, kt\u00f3rych akcja rozgrywa si\u0119 w uzdrowisku. Powie\u015b\u0107 ta jest bowiem po\u015bwi\u0119cona narodzinom i rozwojowi miasta uzdrowiskowego i przypada na wa\u017cny okres, w kt\u00f3rym bogate, przedsi\u0119biorcze mieszcza\u0144stwo &#8211; reprezentowane w utworze przez \u017cydowskiego bankiera Andermatta &#8211; stopniowo opanowywa\u0142o \u017cycie gospodarcze i towarzyskie kurort\u00f3w, lansuj\u0105c w\u0142asne warto\u015bci i wzorce post\u0119powania. Wnikliwe, pozbawione z\u0142udze\u0144 spojrzenie autora ukazuje typowe dla mieszcza\u0144stwa tej epoki traktowanie tego rodzaju miejscowo\u015bci jako poligonu do\u015bwiadczalnego kreowania niekt\u00f3rych zjawisk, kt\u00f3re&nbsp;b\u0119d\u0105cechowa\u0142y spo\u0142ecze\u0144stwo masowe: konsumpcjonizm, komercjalizacja sfery us\u0142ug zdrowotnych, organizowanie wol\u00adnego czasu na szerok\u0105 skal\u0119, instrumentalne podej\u015bcie do nauki, wszechobecna reklama. Wszystkie te zjawiska pisarz uwa\u017cnie rejestruje. Za parawanem szablonowej historii zakaza\u00adnej mi\u0142o\u015bci Maupassant przekazuje nam tak\u017ce spor\u0105 dawk\u0119 wiedzy o uzdrowiskowym \u017cyciu&nbsp;<em>fin de si\u00e8cle,&nbsp;<\/em>znajduj\u0105cej potwierdzenie w opracowaniach naukowych po\u015bwi\u0119conych historii zdrojownictwa.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja&nbsp;<strong>PAW\u0141OWSKA<\/strong>, La v\u00e9rit\u00e9 et la vraisemblance, l\u2019histoire et le roman dans quelques \u00e9crits th\u00e9oriques du XVII<sup>e<\/sup>&nbsp;si\u00e8cle (Camus, d\u2019Aubignac, Huet)&nbsp;<strong>213<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>PRAWDA A PRAWDOPODOBNO\u015a\u0106, HISTORIA A POWIE\u015a\u0106 W KILKU PISMACH TEORETYCZNYCH XVII WIEKU (CAMUS, D\u2019AUBIGNAC, HUET)<\/p>\n\n\n\n<p>Rozwojowi siedemnastowiecznej powie\u015bci francuskiej towarzysz\u0105 pierwsze pr\u00f3by stworzenia poetyki tego gatunku. Teoretycy tacy jak Camus, d\u2019Aubignac oraz Huet pr\u00f3buj\u0105 okre\u015bli\u0107 status powie\u015bci na tle gatunk\u00f3w literackich uznawanych w doktrynie klasycznej. Punktem odniesienia tych rozwa\u017ca\u0144 jest pogl\u0105d Arystotelesa&nbsp;zawarty w<em>&nbsp;Sztuce poetyckiej&nbsp;<\/em>i&nbsp;ustalaj\u0105cy re\u00adlacje mi\u0119dzy prawd\u0105, jako domen\u0105 historii, oraz nadrz\u0119dn\u0105 wobec niej prawdopodobno\u015bci\u0105&nbsp;<em>(vraisemblance),&nbsp;<\/em>jako domen\u0105 poezji. Tworz\u0105cy w pierwszej po\u0142owie wieku Camus poj\u0119cie prawdy przenosi z historii na teksty zawarte w Pi\u015bmie \u015awi\u0119tym oraz na wydarzenia, kt\u00f3re zna z w\u0142asnego do\u015bwiadczenia i literacko transponuje. Prawdopodobno\u015bci przyznaje rol\u0119 podrz\u0119d\u00adn\u0105 wobec chrze\u015bcija\u0144skiej prawdy moralnej, okre\u015blaj\u0105c t\u0119 pierwsz\u0105 jako rodzaj \u0142\u0105cznika lo\u00adgicznego powie\u015bci. Tematyk\u0119 z historii antycznej wyklucza z romansu. D\u2019Aubignac rozgranicza histori\u0119 i powie\u015b\u0107. Uznaj\u0105c prawd\u0119 moraln\u0105 historii antyku, wykazuje, \u017ce mo\u017ce ona istnie\u0107 w romansie. Akceptuje jednak powie\u015bci, kt\u00f3rych tematyka jest ca\u0142kowicie zmy\u015blona. Musz\u0105 one spe\u0142nia\u0107 warunek prawdopodobno\u015bci, kt\u00f3r\u0105 krytyk rozumie jako wewn\u0119trzn\u0105 logik\u0119 dzie\u00ad\u0142a i zgodno\u015b\u0107 z og\u00f3lnie przyj\u0119tymi s\u0105dami. Huet, pisz\u0105cy w drugiej po\u0142owie wieku, powiela w swoich s\u0105dach koncepcj\u0119 Arystotelesa, przyjmuj\u0105c, \u017ce powie\u015b\u0107 tematyk\u0119 swoj\u0105 powinna czerpa\u0107 z historii antycznej. Prawdopodobno\u015b\u0107 jest przedstawiona jako, nadrz\u0119dna wobec zda\u00adrze\u0144 historycznych, logiczna zasada konieczno\u015bci, porz\u0105dkuj\u0105ca i generalizuj\u0105ca histori\u0119 oraz nadaj\u0105ca faktom znaczenie moralne.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-023eeaa ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-023eeaa .ugb-accordion__title{line-height:1em !important}.ugb-023eeaa .ugb-accordion__arrow{fill:#ffffff}.ugb-023eeaa .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-023eeaa.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LII (2005)<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>R\u00e9dacteurs du volume \u2013 El\u017cbieta Skibi\u0144ska et Davide Artico<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2005<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis No 2810)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p>LINGUISTIQUE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>C\u00e9lia BERNEZ, Adjectifs chromatiques et construction morphologique en fran\u00e7ais&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Guillemets, italiques et deux-points&nbsp;: \u00ab&nbsp;solitaires typographiques du&nbsp;<em>Monde<\/em>&nbsp;\u00bb&nbsp;<strong>21<\/strong><\/li>\n\n\n\n<li>Magdalena DA\u0143KO, Quelques grandes th\u00e9ories de l\u2019acquisition du langage dans la perspective interactionniste&nbsp;<strong>29<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, L\u2019interaction et la politesse dans les romans de Boris Vian et leur traduction polonaise&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Le terme&nbsp;: unit\u00e9 du discours sp\u00e9cialis\u00e9, du lexique sp\u00e9cialis\u00e9 et de la description terminographique&nbsp;<strong>53<\/strong><\/li>\n\n\n\n<li>Natalia PAPROCKA, Les erreurs relatives engendr\u00e9es par les \u00e9l\u00e9ments culturels dans les traductions de textes pragmatiques fran\u00e7ais r\u00e9alis\u00e9es par des \u00e9tudiants polonais&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Monika SZMULEWSKA, Language testing nell\u2019insegnamento-apprendimento dell\u2019italiano come LS&nbsp;<strong>77<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, Remarques sur la traduction en polonais de la locution&nbsp;<em>au fil de<\/em>&nbsp;suivie d\u2019un nom non temporel&nbsp;<strong>93<\/strong><\/li>\n<\/ul>\n\n\n\n<p>LITT\u00c9RATURE<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ludovico FULCI, Pirandello, Manzoni e la storia&nbsp;<strong>107<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI, Il fascino delle rive del nord Europa e i suoi riflessi letterari nella prosa del primo Novecento&nbsp;: da Balbec a Travem\u00fcnde&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Jean-Pierre Camus, l\u2019\u00e9v\u00eaque romancier&nbsp;<strong>133<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>C\u00e9lia&nbsp;<strong>BERNEZ<\/strong>, Adjectifs chromatiques et construction morphologique en fran\u00e7ais&nbsp;<strong>9<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>CHROMATIC ADJECTIVES AND MORPHOLOGICAL CONSTRUCTION IN FRENCH<\/p>\n\n\n\n<p>This article is about the means provided by language to build new lexical items to name colours.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>But two different morphological operations are possible: either conversion (like&nbsp;<em>orange, rose)&nbsp;<\/em>or composition (like for&nbsp;<em>rose sparadrap, vert prairie).<\/em><\/p>\n\n\n\n<p>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 prop\u00aderty that will determine the choice of the morphological operation.<\/p>\n\n\n\n<p>To create a word of colour by conversion (like&nbsp;<em>orange),&nbsp;<\/em>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&nbsp;<em>(rose bonbon)&nbsp;<\/em>and on the other hand if several properties share the same degree of stereotypy&nbsp;<em>(bleu bahamas).<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>BIARDZKA<\/strong>, Guillemets, italiques et deux-points&nbsp;: \u00ab&nbsp;solitaires typographiques du&nbsp;<em>Monde<\/em>&nbsp;\u00bb&nbsp;<strong>21<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>CUDZYS\u0141\u00d3W, KURSYWA I DWUKROPEK: SAMOTNE ZNAKI TYPOGRAFICZNE W GAZECIE&nbsp;<em>LE MONDE<\/em><\/p>\n\n\n\n<p>Autorka omawia rodzaje i funkcje znak\u00f3w typograficznych, kt\u00f3re we francuskiej gaze\u00adcie&nbsp;<em>Le Monde&nbsp;<\/em>mog\u0105 wyst\u0119powa\u0107 samodzielnie, bez towarzystwa innych znak\u00f3w. Chodzi o cu\u00addzys\u0142\u00f3w, kursyw\u0119 i dwukropek. Zdaniem autorki znaki te pojawiaj\u0105 si\u0119 w dw\u00f3ch seriach kon\u00adtekst\u00f3w: w pierwszej serii typografia sygnalizuje pewien dystans do cytowanych s\u0142\u00f3w, w dru\u00adgiej za\u015b dystans ten zanika. Szczeg\u00f3lny stosunek dziennikarza do cytowanego s\u0142owa (i u\u017cycie znaku typograficznego) mo\u017ce wynika\u0107 z ch\u0119ci szczeg\u00f3lnego potraktowania jego znaczenia, przynale\u017cno\u015bci do jakiego\u015b charakterystycznego sposobu m\u00f3wienia (j\u0119zyk wi\u0119\u017ani\u00f3w, policyj\u00adny, polityczny, uczniowski) lub z ch\u0119ci zaznaczenia miejsca cytatu w hierarchii cytowanych wypowiedzi prasowych. Znaki typograficzne w serii drugiej nie wyra\u017caj\u0105 dystansu dziennika\u00adrza wobec jakiego\u015b s\u0142owa, lecz oddzielaj\u0105 tekst techniczny, dziennikarski (paratekst) od w\u0142a\u00ad\u015bciwego tekstu informacyjnego. Praca oparta jest na Bachtinowskiej teorii polifonii j\u0119zykowej i stanowi element szerszego projektu badawczego po\u015bwi\u0119conego rodzajom i funkcjom przy\u00adtocze\u0144 prasowych na przyk\u0142adzie francuskiego dziennika&nbsp;<em>Le Monde.<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Magdalena&nbsp;<strong>DA\u0143KO<\/strong>, Quelques grandes th\u00e9ories de l\u2019acquisition du langage dans la perspective interactionniste&nbsp;<strong>29<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>KILKA ZNACZ\u0104CYCH TEORII PRZYSWAJANIA J\u0118ZYKA W PERSPEKTYWIE INTERAKCYJNEJ<\/p>\n\n\n\n<p>Autorka prezentuje kilka najwi\u0119kszych teorii dotycz\u0105cych przyswajania j\u0119zyka poprzez interakcje werbalne mi\u0119dzy cz\u0142onkami danej wsp\u00f3lnoty j\u0119zykowej. W 1875 roku Whitney odrzuca teori\u0119 Darwina, uznaj\u0105c, i\u017c j\u0119zyk nie jest funkcj\u0105 biologiczn\u0105 cz\u0142owieka, lecz tworem jednocze\u015bnie indywidualnym i spo\u0142ecznym. Por\u00f3wnuj\u0105c instynktown\u0105 zdolno\u015b\u0107 chodzenia i nabyt\u0105 zdolno\u015b\u0107 m\u00f3wienia, Sapir akcentuje, podobnie jak Whitney, g\u0142\u00f3wn\u0105 rol\u0119 interakcji werbalnych, mi\u0119dzy bardziej i mniej do\u015bwiadczonymi cz\u0142onkami danej wsp\u00f3lnoty j\u0119zykowej, w rozwijaniu kompetencji lingwistycznych i komunikacyjnych. Wed\u0142ug Jespersena, aby ba\u00adda\u0107 proces przyswajania j\u0119zyka, nale\u017cy koncentrowa\u0107 si\u0119 nie tylko na obserwacji wypowie\u00addzi dzieci (podmiot mniej do\u015bwiadczony), ale r\u00f3wnie\u017c na analizie wypowiedzi do nich kiero\u00adwanych przez doros\u0142ych (podmiot bardziej do\u015bwiadczony). Relacja i rozw\u00f3j interakcji mi\u0119dzy nimi jest bardzo wa\u017cnym elementem procesu przyswajania j\u0119zyka. Vygotski potwierdza t\u0119 teori\u0119 w swoich badaniach, wysuwaj\u0105c koncepcj\u0119 \u201esfery potencjalnego rozwoju\u201d, kt\u00f3rej isto\u00adt\u0105 jest w\u0142a\u015bnie wsp\u00f3\u0142praca mi\u0119dzy ekspertem i pocz\u0105tkuj\u0105cym. Adaptuj\u0105c teori\u0119 Vygotskiego, Bruner podkre\u015bla, \u017ce cech\u0105 wyr\u00f3\u017cniaj\u0105c\u0105 cz\u0142owieka jest nie tylko zdolno\u015b\u0107 uczenia si\u0119, ale tak\u017ce zdolno\u015b\u0107 nauczania. Je\u015bli dziecko ma wrodzon\u0105 predyspozycj\u0119 do przyswajania j\u0119zyka, to ta predyspozycja wymaga solidnego uporz\u0105dkowania ze strony towarzysz\u0105cego dziecku doros\u0142ego. Podsumowuj\u0105c: aby analizowa\u0107 proces przyswajania j\u0119zyka, niezb\u0119dne jest zwr\u00f3cenie uwagi na natur\u0119 i rozw\u00f3j specyficznych interakcji oraz relacj\u0119, jaka tworzy si\u0119 mi\u0119\u00addzy ekspertem i pocz\u0105tkuj\u0105cym (nauczaj\u0105cym i ucz\u0105cym si\u0119) w danej sytuacji, w danym kon\u00adtek\u015bcie. W ten oto spos\u00f3b interakcja werbalna przesta\u0142a by\u0107 postrzegana jako t\u0142o procesu przy\u00adswajania j\u0119zyka, lecz sta\u0142a si\u0119 jego g\u0142\u00f3wnym elementem.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>GRABOWSKA<\/strong>, L\u2019interaction et la politesse dans les romans de Boris Vian et leur traduction polonaise&nbsp;<strong>39<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>INTERAKCJA I GRZECZNO\u015a\u0106 W POWIE\u015aCIACH BORISA VIANA I ICH PRZEK\u0141ADZIE NA POLSKI<\/p>\n\n\n\n<p>Artyku\u0142 po\u015bwi\u0119cony jest interakcjom w trzech powie\u015bciach Borisa Viana&nbsp;<em>(L\u2019\u00c9cume des jours, L&#8217;Arrache-coeur&nbsp;<\/em>i&nbsp;<em>L&#8217;Herbe rouge)&nbsp;<\/em>i ich t\u0142umaczeniu na j\u0119zyk polski przez Marka Pu-szczewicza. Przez intrakcj\u0119 s\u0142own\u0105 rozumiemy wzajemn\u0105 akcj\u0119 o charakterze spo\u0142ecznym obejmuj\u0105c\u0105 wiedz\u0119 spo\u0142ecznie skonwencjonalizowan\u0105, rzeczywisto\u015b\u0107 spo\u0142eczn\u0105 i j\u0119zyk. Ar\u00adtyku\u0142 obejmuje swoim zasi\u0119giem r\u00f3wnie\u017c interakcje pozas\u0142owne wyra\u017cone w opisach postaw lub zachowa\u0144 oraz w narracji wydarze\u0144.<\/p>\n\n\n\n<p>Interakcja regulowana jest zasad\u0105 wsp\u00f3\u0142pracy Grice&#8217;a i wi\u0105\u017ce si\u0119 z zastosowaniem r\u00f3\u017cnorakich konwencji grzeczno\u015bciowych, kt\u00f3rych rol\u0105 jest \u0142agodzenie odst\u0119pstw od tej zasady czynionych w imi\u0119 ochrony wizerunku pozytywnego lub negatywnego jednego z m\u00f3wi\u0105cych. Boris Vian zdecydowanie przekracza granice wyznaczone przez zasady obowi\u0105zuj\u0105ce w spo\u0142ecze\u0144stwie francuskim XX wieku, co w jego utworach staje si\u0119 \u017ar\u00f3d\u0142em nieustannego zaskoczenia i komizmu. Jest to trudne wyzwanie dla t\u0142umacza, szczeg\u00f3lnie dlatego, \u017ce interakcja osadzona jest w kulturze danej spo\u0142eczno\u015bci j\u0119zykowej.<\/p>\n\n\n\n<p>Autorka por\u00f3wnuje interakcje w powie\u015bciach Borisa Viana z efektem osi\u0105gni\u0119tym w przek\u0142adzie, zar\u00f3wno je\u015bli chodzi o stopie\u0144 oddalenia od konwencji spo\u0142eczno-j\u0119zykowych, jak i ich rol\u0119 w tek\u015bcie powie\u015bci.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan&nbsp;<strong>KAUFMAN<\/strong>, Le terme&nbsp;: unit\u00e9 du discours sp\u00e9cialis\u00e9, du lexique sp\u00e9cialis\u00e9 et de la description terminographique&nbsp;<strong>53<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>TERMIN: JEDNOSTKA KOMUNIKACJI SPECJALISTYCZNEJ, LEKSYKI SPECJALISTYCZNYCH ODMIAN J\u0118ZYKA I OPISU TERMINOLOGICZNEGO<\/p>\n\n\n\n<p>Autor omawia r\u00f3\u017cnice mi\u0119dzy terminem, oznaczeniem poj\u0119cia i jednostk\u0105 opisu termi\u00adnologicznego a, z jednej strony, specjalistycznym wyrazem tekstowym, z drugiej &#8211; wyrazem &#8211; leksemem specjalistycznych odmian j\u0119zyka. Rozr\u00f3\u017cnienia te, cz\u0119sto pomijane w literaturze przedmiotu, pozwalaj\u0105 z jednej strony ukaza\u0107 we w\u0142a\u015bciwym \u015bwietle niekt\u00f3re twierdzenia klasycznej teorii terminologii (niezmienno\u015b\u0107 terminu, brak polisemii i synonimii, poj\u0119cie jako wy\u0142\u0105czne znaczenie terminu) jako cechy terminu, celu dzia\u0142alno\u015bci terminologicznej, nie za\u015b wyrazu tekstowego lub leksemu specjalistycznego. Z drugiej strony rozr\u00f3\u017cnienie leksemu specjalistycznego i terminu poci\u0105ga za sob\u0105 pewne konsekwencje dotycz\u0105ce budowy zbioru danych terminologicznych (s\u0142ownika), w szczeg\u00f3lno\u015bci &#8211; konieczno\u015b\u0107 dodania do dw\u00f3ch istniej\u0105cych poziom\u00f3w opisu: poj\u0119ciowego i dotycz\u0105cego termin\u00f3w, poziomu nowego, dotycz\u0105\u00adcego leksem\u00f3w specjalistycznych.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Natalia&nbsp;<strong>PAPROCKA<\/strong>, Les erreurs relatives engendr\u00e9es par les \u00e9l\u00e9ments culturels dans les traductions de textes pragmatiques fran\u00e7ais r\u00e9alis\u00e9es par des \u00e9tudiants polonais&nbsp;<strong>63<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>B\u0141\u0118DY WZGL\u0118DNE DOTYCZ\u0104CE ELEMENT\u00d3W KULTUROWYCH W STUDENCKICH T\u0141UMACZENIACH TEKST\u00d3W U\u017bYTKOWYCH Z FRANCUSKIEGO NA POLSKI<\/p>\n\n\n\n<p>Celem autorki jest analiza&nbsp;<em>b\u0142\u0119d\u00f3w wzgl\u0119dnych,&nbsp;<\/em>czyli wynikaj\u0105cych z nieprzestrzegania zalece\u0144 i potrzeb zleceniodawcy, w polskich przek\u0142adach francuskich tekst\u00f3w u\u017cytkowych. Analiza obejmuje te b\u0142\u0119dy wzgl\u0119dne, kt\u00f3re s\u0105 rezultatem nieprzestrzegania lub nieuwzgl\u0119\u00addnienia warunk\u00f3w odbioru przek\u0142adu (celu i odbiorcy), a dok\u0142adniej &#8211; te, kt\u00f3re powstaj\u0105 w ze\u00adtkni\u0119ciu z&nbsp;<em>elementami kulturowymi obcymi&nbsp;<\/em>dla odbiorc\u00f3w przek\u0142adu. T\u0142umacz, napotykaj\u0105c taki element, musi zadecydowa\u0107, jak z nim post\u0105pi\u0107: zostawi\u0107, zast\u0105pi\u0107 innym, obja\u015bni\u0107 lub pomin\u0105\u0107. Ka\u017cda jego decyzja poci\u0105ga za sob\u0105 kolejne wybory, kt\u00f3re, gdy nie s\u0105 adekwatne do sytuacji przek\u0142adu, mog\u0105 wywo\u0142a\u0107 b\u0142\u0119dy wzgl\u0119dne.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>SZMULEWSKA<\/strong>, Language testing nell\u2019insegnamento-apprendimento dell\u2019italiano come LS&nbsp;<strong>77<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>SPRAWDZANIE I OCENIANIE UMIEJ\u0118TNO\u015aCI W PROCESIE NAUCZANIA-UCZENIA SI\u0118 J\u0118ZYKA W\u0141OSKIEGO<\/p>\n\n\n\n<p>Zagadnienia kontroli i oceny w nauczaniu j\u0119zyk\u00f3w obcych stanowi\u0105 jeden z trudniej\u00adszych element\u00f3w pracy dydaktycznej. Autorka przybli\u017ca tematyk\u0119&nbsp;<em>language testing&nbsp;<\/em>w odnie\u00adsieniu do nauczania-uczenia si\u0119 gramatyki w\u0142oskiej, opieraj\u0105c si\u0119 na za\u0142o\u017ceniach nowoczesnej glottodydaktyki i odnosz\u0105c si\u0119 do wytycznych zawartych w odpowiednich dokumentach Ra\u00addy Europy, a ko\u0144cz\u0105c na publikacji wynik\u00f3w bada\u0144 prowadzonych w zakresie efektywno\u015bci kontroli bie\u017c\u0105cej i okresowej. W pierwszej cz\u0119\u015bci artyku\u0142u poruszone zosta\u0142y kwestie og\u00f3lne dotycz\u0105ce kontroli i oceniania oraz ich funkcji, rodzaj\u00f3w test\u00f3w i kryteri\u00f3w ich poprawno\u015bci; druga dotyczy praktycznego wymiaru proces\u00f3w kontroli i oceniania w \u015bwietle bada\u0144 prowa\u00addzonych w\u015br\u00f3d student\u00f3w.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Witold&nbsp;<strong>UCHEREK<\/strong>, Remarques sur la traduction en polonais de la locution&nbsp;<em>au fil de<\/em>&nbsp;suivie d\u2019un nom non temporel&nbsp;<strong>93<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>O POLSKICH PRZEK\u0141ADACH&nbsp;KONSTRUKCJI&nbsp;<em>A U FIL DE +&nbsp;<\/em>RZECZOWNIK NIECZASOWY<\/p>\n\n\n\n<p>W artykule badane s\u0105 polskie t\u0142umaczenia francuskich konstrukcji: przyimek&nbsp;<em>au fil de&nbsp;<\/em>+&nbsp;rzeczownik nieczasowy (Nnt). W pozycji rzeczownika wyst\u0119puj\u0105 w zgromadzonym korpusie&nbsp;przede wszystkim nazwy r\u00f3\u017cnych czynno\u015bci, proces\u00f3w i stan\u00f3w oraz wyraz&nbsp;<em>eau&nbsp;<\/em>(\u2018woda\u2019).&nbsp;Z analizy przek\u0142ad\u00f3w wynika, \u017ce w polszczy\u017anie brakuje takich odpowiednik\u00f3w, kt\u00f3re mia\u00ad\u0142yby zar\u00f3wno zbli\u017cone znaczenie, jak i dystrybucj\u0119. Na wyb\u00f3r odpowiednika francuskiej kon\u00adstrukcji&nbsp;<em>au fil de&nbsp;<\/em>+ Nnt ma wp\u0142yw semantyzm rzeczownika poprzyimkowego oraz to, czy kon\u00adtekst implikuje jedynie powtarzalno\u015b\u0107 danej czynno\u015bci, czy te\u017c jej intensyfikacj\u0119.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ludovico&nbsp;<strong>FULCI<\/strong>, Pirandello, Manzoni e la storia&nbsp;<strong>107<\/strong><\/li>\n<\/ul>\n\n\n\n<p>R\u00e9sum\u00e9<\/p>\n\n\n\n<p>PIRANDELLO, MANZONI ET L&#8217;HISTOIRE<\/p>\n\n\n\n<p>Dans le pr\u00e9sent article on \u00e9tudie les corr\u00e9lations entre la nouvelle de Pirandello&nbsp;<em>La trage\u00addia di un personaggio [La trag\u00e9die d&#8217;un personnage]&nbsp;<\/em>et la vogue \u201emanzonienne&#8221;, avec une r\u00e9f\u00e9rence particuli\u00e8re \u00e0 ce qu\u2019on peut d\u00e9finir \u201equestion du temps historique dans la narration\u201d. Une telle question est explicitement pos\u00e9e par le h\u00e9ros principal de la nouvelle, qui d\u00e9clare avoir un syst\u00e8me (celui d&#8217;une lunette retourn\u00e9e) pour \u00e9loigner les \u00e9v\u00e9nements pr\u00e9sents en les pla\u00e7ant dans un temps lointain.<\/p>\n\n\n\n<p>Pour l\u2019auteur du pr\u00e9sent article, il s\u2019agirait d\u2019une prise de distance par rapport aux positions de Benedetto Croce &#8211; critique s\u00e9v\u00e8re de l\u2019essai sur l\u2019<em>Humorisme&nbsp;<\/em>de Pirandello et d\u00e9fenseur de sa fameuse th\u00e9orie selon laquelle \u201etoute histoire est actuelle\u201d. Le h\u00e9ros principal de la nouvelle de Pirandello, qui est un philosophe, renverse le postulat de Croce et sugg\u00e8re que dans un r\u00e9cit historique il y a des strat\u00e9gies pour s\u2019\u00e9loigner d\u2019une source actuelle de pr\u00e9occupations, d\u2019inqui\u00e9tudes et de soucis, justement parce que le pr\u00e9sent, en tant que tel, est vivant et fait souffrir.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maurizio&nbsp;<strong>MAZZINI<\/strong>, Il fascino delle rive del nord Europa e i suoi riflessi letterari nella prosa del primo Novecento&nbsp;: da Balbec a Travem\u00fcnde&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>FASCYNACJA WYBRZE\u017bEM P\u00d3\u0141NOCNEJ EUROPY I JEJ \u015aLADY W PROZIE POCZ\u0104TKU XX WIEKU: Z BALBEC DO TRAVEM\u00dcNDE<\/p>\n\n\n\n<p>\u015awiat antyczny nie zna\u0142 fascynacji morzem. Nie ma jej \u015blad\u00f3w nawet w&nbsp;<em>Odysei,&nbsp;<\/em>morskim eposie&nbsp;<em>par excellence.&nbsp;<\/em>Literatura rzymska z kolei ugruntowa\u0142a obraz Morza \u015ar\u00f3dziemnego, kt\u00f3ry ci\u0105\u017cy\u0142 na swobodnej, osobistej percepcji krajobrazu \u015br\u00f3dziemnomorskiego ze strony podr\u00f3\u017cnik\u00f3w do XIX wieku. Chrze\u015bcija\u0144stwo upowszechni\u0142o przera\u017caj\u0105cy obraz morza i wybrze\u017ca jako reliktu po potopie, znaku winy cz\u0142owieka i ostrze\u017cenia przed boskim gniewem. Na prze\u0142omie XVII i XVIII wieku w Holandii narodzi\u0142 si\u0119 podziw dla morza i ludzi, kt\u00f3rzy z niego \u017cyj\u0105, ale \u201eodkrycie morza\u201d, jego pi\u0119kna i walor\u00f3w leczniczych zawdzi\u0119czamy XVIII-wiecznej Anglii. Prymat p\u00f3\u0142nocnego wybrze\u017ca przetrwa\u0142 do po\u0142owy XIX wieku, ale mo\u017cna dostrzec fascynacj\u0119 nadmorskim krajobrazem p\u00f3\u0142nocnym jeszcze w takich arcydzie\u0142ach pro\u00adzy pierwszej po\u0142owy XX wieku, jak&nbsp;<em>W poszukiwaniu straconego czasu&nbsp;<\/em>M. Prousta, w kt\u00f3rym k\u0105pielisko Balbec jest miejscem odkrywania fa\u0142szu \u015bwiata, zmienno\u015bci r\u00f3l spo\u0142ecznych i gry pozor\u00f3w, oraz&nbsp;<em>Buddenbrookowie&nbsp;<\/em>T. Manna, gdzie pla\u017ca w Travem\u00fcnde staje si\u0119 przestrzeni\u0105 przelotnego marzenia Toni o mo\u017cliwo\u015bci kszta\u0142towania w\u0142asnego losu.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja&nbsp;<strong>PAW\u0141OWSKA<\/strong>, Jean-Pierre Camus, l\u2019\u00e9v\u00eaque romancier&nbsp;<strong>133<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Streszczenie<\/p>\n\n\n\n<p>JEAN-PIERRE CAMUS, BISKUP ROMANSOPISARZ<\/p>\n\n\n\n<p>Biskup Jean-Pierre Camus, jeden z czo\u0142owych romansopisarzy pierwszej po\u0142owy XVII wieku, pisarstwo swoje traktowa\u0142 jako pos\u0142annictwo i d\u0105\u017cy\u0142 do zast\u0105pienia popularnych w\u00f3w\u00adczas romans\u00f3w powie\u015bci\u0105 pobo\u017cn\u0105, by w ten spos\u00f3b ewangelizowa\u0107 zwyczajowych czytelni\u00adk\u00f3w tego typu lektur. Bycie duszpasterzem i romansopisarzem by\u0142o w owych czasach z za\u0142o\u00ad\u017cenia sprzeczne, gdy\u017c Ko\u015bci\u00f3\u0142 pot\u0119pia\u0142 powie\u015bci, uwa\u017caj\u0105c je za demoralizuj\u0105ce. Utwory swo\u00adje Camus opatrywa\u0142 wst\u0119pem lub pos\u0142owiem, w kt\u00f3rych rekomendowa\u0142 dzie\u0142a jako moralnie po\u017cyteczne oraz ostro pot\u0119pia\u0142 wsp\u00f3\u0142czesne mu romanse i ich autor\u00f3w. Krytyka romansu, przewa\u017caj\u0105ca w wypowiedziach teoretycznych Camusa, nie jest jednak pe\u0142na. Pewne zawar\u00adte w nich uwagi ukazuj\u0105 jego fascynacj\u0119 tym gatunkiem oraz przyjemno\u015b\u0107, jak\u0105 czerpa\u0142 ze swej tw\u00f3rczo\u015bci. Uwarunkowania etyczne i estetyczne czas\u00f3w, w kt\u00f3rych tworzy\u0142 Camus, sprawi\u0142y, i\u017c jego autentyczna sk\u0142onno\u015b\u0107 pisarska zosta\u0142a ukryta pod swoist\u0105 autokreacj\u0105, ma\u00adj\u0105c\u0105 na celu zjednanie mu przychylno\u015bci moralist\u00f3w. Pragnienie Camusa, by zadowoli\u0107 kry\u00adtyk\u00f3w, ukazuje si\u0142\u0119 oddzia\u0142ywania konwencji etycznych i literackich w jego epoce. Wypowie\u00addzi, w kt\u00f3rych popiera on romans, s\u0105 natomiast dowodem na si\u0142\u0119 oddzia\u0142ywania i atrakcyj\u00adno\u015b\u0107 gatunku oraz zapowiadaj\u0105 jego przysz\u0142y sukces.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-b11ec39 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-b11ec39 .ugb-accordion__title{line-height:1em !important}.ugb-b11ec39 .ugb-accordion__arrow{fill:#ffffff}.ugb-b11ec39 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-b11ec39.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LIII (2006) &#8211; &#8220;M\u00e9langes de langue et de litt\u00e9rature offerts au Professeur Eugeniusz Ucherek&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>M\u00e9langes de langue et de litt\u00e9rature offerts au Professeur Eugeniusz Ucherek<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 El\u017cbieta Biardzka<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2006<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2848)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Eugeniusz Ucherek. Notice biographique (El\u017cbieta BIARDZKA)&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Michel BELLOT-ANTONY, Vocabulaire et soci\u00e9t\u00e9 en France dans la seconde moiti\u00e9 du XX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Sur&nbsp;<em>sous<\/em>&nbsp;et de ses (faux)-amis polonais. L\u2019espace et son&nbsp;<em>image dans la t\u00eate<\/em>&nbsp;des Fran\u00e7ais et des Polonais&nbsp;<strong>21<\/strong><\/li>\n\n\n\n<li>Krzysztof BOGACKI,&nbsp;<em>Avec<\/em>&nbsp;et ses \u00e9quivalents polonais dans la perspective de la traduction automatique&nbsp;<strong>27<\/strong><\/li>\n\n\n\n<li>Urszula D\u0104MBSKA-PROKOP, Comment traduire une pr\u00e9position?&nbsp;<strong>35<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Francuska opera komiczna w Polsce w XVIII wieku&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Teresa GIERMAK-ZIELI\u0143SKA, Pr\u00e9positions&nbsp;<em>\u00e0<\/em>&nbsp;et&nbsp;<em>de<\/em>&nbsp;: un contraste de sens possible?&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Graffiti, blog, podcasting, sms, chat\u2026 quelques r\u00e9flexions sur la communication des jeunes&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, La terminologie entre la description et la norme : quelques \u00e9l\u00e9ments de r\u00e9flexion&nbsp;<strong>81<\/strong><\/li>\n\n\n\n<li>Marek K\u0118SIK, Des \u00ab&nbsp;seins hauts&nbsp;\u00bb aux \u00ab&nbsp;fesses rondes&nbsp;\u00bb. M\u00e9ronymes corporels : contraintes s\u00e9mantiques et syntaxiques&nbsp;<strong>89<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, L\u2019onomastique au th\u00e9\u00e2tre&nbsp;: noms des personnages dans les drames de Franciszek Zab\u0142ocki et leurs mod\u00e8les fran\u00e7ais&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Des m\u00e9andres de la typologie du roman chez l\u2019abb\u00e9 d\u2019Aubignac&nbsp;<strong>111<\/strong><\/li>\n\n\n\n<li>Michel QUEREUIL, Les italianismes dans le&nbsp;<em>Devisement du monde<\/em>&nbsp;de Marco Polo&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Piotr SAWICKI, Jitka SMI\u010cEKOV\u00c1,&nbsp;<em>Vieil arbre d\u2019un coup ne s\u2019arrache<\/em>. Gobelin staro\u015bci zbiorow\u0105 wyobra\u017ani\u0105 czterech narod\u00f3w spleciony&nbsp;<strong>127<\/strong><\/li>\n\n\n\n<li>Edmund SIKORA, S\u00e9mantique lexicale du point de vue du Lexique G\u00e9n\u00e9ratif&nbsp;<strong>139<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA, D\u00e9personnalisation et anonymat au service des id\u00e9es re\u00e7ues : observations sur le pronom&nbsp;<em>on<\/em>&nbsp;dans&nbsp;<em>Madame Bovary<\/em>&nbsp;<strong>151<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, L\u2019expression&nbsp;<em>\u00e0 la base de<\/em>&nbsp;est-elle un \u00e9quivalent fran\u00e7ais des locutions polonaises&nbsp;<em>na podstawie<\/em>&nbsp;(+<em>g\u00e9nitif<\/em>),&nbsp;<em>na bazie<\/em>&nbsp;(+<em>g\u00e9nitif<\/em>) et&nbsp;<em>w oparciu o<\/em>&nbsp;(+<em>accusatif<\/em>)&nbsp;?&nbsp;<strong>161<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Michel&nbsp;<strong>BELLOT-ANTONY<\/strong>, Vocabulaire et soci\u00e9t\u00e9 en France dans la seconde moiti\u00e9 du XX<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;<strong>11<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FRENCH VOCABULARY AND SOCIETY IN THE SECOND HALF OF THE 20<sup>th<\/sup>&nbsp;CENTURY<\/p>\n\n\n\n<p>The purpose of this short study is to show, starting from a&nbsp;listof new words and meanings found in&nbsp;<em>Le Petit Robert&nbsp;<\/em>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&nbsp;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&nbsp;was mainly linked to the expansion of new technologies (electronics, computer science and&nbsp;new communication media). Thus, in its own way,&nbsp;thedictionary&nbsp;tellsus about the history of&nbsp;the society and testifies to the vitality and wealth of the French language.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>vocabulary, society, neologism<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>BIARDZKA<\/strong>, Sur&nbsp;<em>sous<\/em>&nbsp;et de ses (faux)-amis polonais. L\u2019espace et son&nbsp;<em>image dans la t\u00eate<\/em>&nbsp;des Fran\u00e7ais et des Polonais&nbsp;<strong>21<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE PREPOSITION&nbsp;<em>SOUS<\/em>&nbsp;AND ITS POLISH \u201cRELATIVES\u201d. SPACE AND ITS FRENCH AND POLISH&nbsp;<em>MENTAL IMAGES<\/em>.<\/p>\n\n\n\n<p>The study examines the locative uses of the French preposition&nbsp;<em>sous<\/em>&nbsp;and its two Polish equivalents, prepositions&nbsp;<em>na<\/em>&nbsp;[<em>on<\/em>] and&nbsp;<em>w<\/em>&nbsp;[<em>in<\/em>] used with the locative. The latter two can be equivalents of&nbsp;<em>sous<\/em>&nbsp;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 &#8220;summerhouses, porches, tents, huts&#8221; as well as arch-shaped localisers such as &#8220;tunnels, gates&#8221;. The French&nbsp;<em>mental image&nbsp;<\/em>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&nbsp;<em>sous&nbsp;<\/em>which localises them on the vertical axis and expresses the spatial subordination of the localised object with respect to the localiser\u2019s roof. The Polish&nbsp;<em>mental image&nbsp;<\/em>either emphasises the fact that these constructions have floors (\u00ab weranda &#8211; na werandzie \u00bb; porch &#8211; on the porch), in which case the names of such localisers are preceded by the Polish preposition&nbsp;<em>na&nbsp;<\/em>expressing spatial superordination, or it treats these localisers as&nbsp;<em>containers,&nbsp;<\/em>simplified cuboids, and in that case their Polish names are preceded by the preposition&nbsp;<em>na&nbsp;<\/em>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&nbsp;<em>mental image&nbsp;<\/em>of an object or a linguistic&nbsp;<em>stereotype&nbsp;<\/em>which determines the use of specific linguistic forms.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>stereotype, preposition, space<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Krzysztof&nbsp;<strong>BOGACKI<\/strong>,&nbsp;<em>Avec<\/em>&nbsp;et ses \u00e9quivalents polonais dans la perspective de la traduction automatique&nbsp;<strong>27<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>AVEC&nbsp;<\/em>AND ITS POLISH EQUIVALENTS IN THE LIGHT&nbsp;OF MACHINE TRANSLATION<\/p>\n\n\n\n<p>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&nbsp;<em>avec&nbsp;<\/em>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.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>preposition, automatic translation, equivalence<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Urszula&nbsp;<strong>D\u0104MBSKA-PROKOP<\/strong>, Comment traduire une pr\u00e9position?&nbsp;<strong>35<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>HOW TO TRANSLATE PREPOSITIONS?<\/p>\n\n\n\n<p>As we know, the translator has to ask and answer two questions: 1\u00b0 how is the translation process determined by the structural differences between the source language and the target language; 2\u00b0 what is the role of different mentalities shaping the two cultures in their contact.<\/p>\n\n\n\n<p>The present study focuses on only one specific problem: the use of prepositions in three translations of a passage from Jean Rouaud&#8217;s&nbsp;<em>Les Champs d&#8217;honneur&nbsp;<\/em>(Goncourt Prize winner for 1999). We demonstrate the polysemy of the preposition&nbsp;<em>dans&nbsp;<\/em>as well as different solutions proposed by the three translators. The function of the selected passage was underlined too &#8211; as an expression of&nbsp;<em>opinio communis,&nbsp;<\/em>and, at the same time, of a subjective point of view of the author. This analysis can be further developed.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>translation, polysemy, prepositions<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Krystyna&nbsp;<strong>GABRYJELSKA<\/strong>, Francuska opera komiczna w Polsce w XVIII wieku&nbsp;<strong>39<\/strong><\/li>\n<\/ul>\n\n\n\n<p>R\u00e9sum\u00e9<\/p>\n\n\n\n<p>L\u2019OP\u00c9RA COMIQUE FRAN\u00c7AIS EN POLOGNE AU XVIII<sup>e<\/sup>&nbsp;SI\u00c8CLE<\/p>\n\n\n\n<p>Le th\u00e9\u00e2tre polonais au XVIII<sup>e<\/sup>&nbsp;si\u00e8cle a subi une notable influence \u00e9trang\u00e8re, surtout fran\u00e7aise qui \u00e0 l\u2019\u00e9poque rayonnait sur l\u2019Europe. La r\u00e9ception des pi\u00e8ces fran\u00e7aises en original encourageait aussi de nombreuses traductions, qui \u00e0 son tour, allaient de pair avec une riche et abondante r\u00e9flexion th\u00e9orique concernant l\u2019art de traduire. Le besoin d&#8217;\u00e9largir la production locale \u00e9tait bien visible, surtout les adaptations des pi\u00e8ces fran\u00e7aises constituaient un \u00e9lan important dans l\u2019essor de la sc\u00e8ne polonaise.<\/p>\n\n\n\n<p>L\u2019intervention dans le texte original se produisait de diff\u00e9rentes fa\u00e7ons mais en g\u00e9n\u00e9ral et les auteurs, et les th\u00e9oriciens s&#8217;accordaient que l\u2019\u0153uvre adapt\u00e9e doit respecter le go\u00fbt du spectateur et encore \u00eatre ouverte \u00e0 l\u2019actualit\u00e9, ce qui veut dire pr\u00e9senter les m\u0153urs du temps et du pays. On \u00e9tait conscient que c&#8217;est une \u0153uvre qui na\u00eet des rapports qu&#8217;entretient le spectacle avec son public. En effet, il s&#8217;agissait de respecter dans l\u2019\u0153uvre adapt\u00e9e la couleur locale, les \u00e9v\u00e9nements historiques, les m\u0153urs et les habitudes quotidiennes.<\/p>\n\n\n\n<p>L&#8217;op\u00e9ra comique fran\u00e7ais a effectivement enrichi la production des \u0153uvres locales et en m\u00eame temps il a consid\u00e9rablement augment\u00e9 la culture th\u00e9\u00e2trale et musicale en Pologne. Ce genre souple, joyeux et plaisant \u00e9tait le meilleur moyen d\u2019offrir aux spectateurs un divertissement agr\u00e9able avec une fonction moralisatrice tellement appr\u00e9ci\u00e9e par les gens des Lumi\u00e8res.<\/p>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE FRENCH COMIC OPERA IN POLAND IN THE 18<sup>th<\/sup>&nbsp;CENTURY<\/p>\n\n\n\n<p>The Polish theatre in the 18<sup>th<\/sup>&nbsp;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.<\/p>\n\n\n\n<p>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&#8217;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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>18<sup>th<\/sup>-century theatre, Polish translation, adaptation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Teresa&nbsp;<strong>GIERMAK-ZIELI\u0143SKA<\/strong>, Pr\u00e9positions&nbsp;<em>\u00e0<\/em>&nbsp;et&nbsp;<em>de<\/em>&nbsp;: un contraste de sens possible?&nbsp;<strong>59<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>PREPOSITIONS&nbsp;<em>\u00c1<\/em>AND&nbsp;<em>DE&nbsp;<\/em>AS A POSSIBLE PAIR OF ANTONYMS<\/p>\n\n\n\n<p>The author demonstrates the possibility of the existence of an antonymous relation with respect to a common spatial domain of meaning. The preposition&nbsp;<em>\u00e1<\/em>is treated as an operator that links the static predicate \u2018be\u2019 with the locative argument \u2018place\u2019. On the other hand, the preposition&nbsp;<em>de&nbsp;<\/em>links the dynamic predicate \u2018cease to be\u2019 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\u2019s analysis of the uses of prepositions is based on an excellent contrastive description included in Eugeniusz Ucherek&#8217;s French-Polish dictionary of prepositions.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>preposition, antonym, syntax<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>GRABOWSKA<\/strong>, Graffiti, blog, podcasting, sms, chat\u2026 quelques r\u00e9flexions sur la communication des jeunes&nbsp;<strong>67<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>GRAFFITI, BLOG, PODCAST, SMS, CHAT&#8230; REFLECTIONS ON HOW YOUNG PEOPLE COMMUNICATE<\/p>\n\n\n\n<p>The article explores the forms of communication used by young people, forms that have flourished as a result of increased mobility of the world&#8217;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).<\/p>\n\n\n\n<p>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 21<sup>st<\/sup>&nbsp;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.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>graffiti, communication technologies, functions of communication<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan&nbsp;<strong>KAUFMAN<\/strong>, La terminologie entre la description et la norme : quelques \u00e9l\u00e9ments de r\u00e9flexion&nbsp;<strong>81<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>TERMINOLOGY BETWEEN NORM AND DESCRIPTION. REFLECTIONS<\/p>\n\n\n\n<p>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 termi\u00adnology 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.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>terminology, descriptive approach, prescriptive approach<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Marek&nbsp;<strong>K\u0118SIK<\/strong>, Des \u00ab&nbsp;seins hauts&nbsp;\u00bb aux \u00ab&nbsp;fesses rondes&nbsp;\u00bb. M\u00e9ronymes corporels : contraintes s\u00e9mantiques et syntaxiques&nbsp;<strong>89<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FROM&nbsp;\u00ab SEINS HAUTS \u00bb (FIRM BREASTS) TO \u00ab FESSES RONDES \u00bb (ROUND BUTTOCKS). MERONYMS OF BODY PARTS: SEMANTIC AND SYNTACTIC DETERMINANTS<\/p>\n\n\n\n<p>The article refers to G. Kleiber&#8217;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.&nbsp;<em>Le gar\u00e7on courait sous la pluie. *Les pieds \u00e9taient mouill\u00e9s.&nbsp;<\/em>\u201cThe boy ran in the rain. *The feet were wet.\u201d). Kleiber\u2019s suggestion to use \u201cabsolute\u201d structures alienating the body (cf.&nbsp;<em>Le gar\u00e7on courait sous la pluie, les pieds mouill\u00e9s)&nbsp;<\/em>and controlled by the subject of the main clause does not allow us to describe appositional structures&nbsp;<em>(d\u00e9tach\u00e9es)&nbsp;<\/em>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\u2019 monograph.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>anaphora, part-whole relations, syntax<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Justyna&nbsp;<strong>\u0141UKASZEWICZ<\/strong>, L\u2019onomastique au th\u00e9\u00e2tre&nbsp;: noms des personnages dans les drames de Franciszek Zab\u0142ocki et leurs mod\u00e8les fran\u00e7ais&nbsp;<strong>99<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ONOMASTICS IN THE THEATRE&nbsp;: NAMES OF CHARACTERS IN FRANCISZEK ZAB\u0141OCKI\u2019S PLAYS AND THEIR FRENCH MODELS<\/p>\n\n\n\n<p>Franciszek Zab\u0142ocki\u2019s plays came into being as a result of translations or adaptations of French plays, from Moli\u00e8re\u2019s comedies to bourgeois drama. Some names of characters are translations (translocations, adaptations or transpositions) of anthroponyms occurring in the original works, but \u2013 following the prevailing tendency in the Polish theatre at the time \u2013 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 Zab\u0142ocki, names that can be classified according to four of Czes\u0142aw Kosyl\u2019s 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\u2019 construction.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: onomastics, theatre, translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja&nbsp;<strong>PAW\u0141OWSKA<\/strong>, Des m\u00e9andres de la typologie du roman chez l\u2019abb\u00e9 d\u2019Aubignac&nbsp;<strong>111<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>TYPOLOGICAL INTRICACIES IN FATHER D\u2019AUBIGNAC\u2019S NOVEL<\/p>\n\n\n\n<p>The emergence of the 17<sup>th<\/sup>&nbsp;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\u2019Aubignac in the foreword to his novel,&nbsp;<em>Macarise ou la Reine des Isles Fortun\u00e9es<\/em>. D\u2019Aubignac distinguished three types of romances: historical romances based on ancient epics; romances&nbsp;with entirely fictional subjects; romances presenting, in an oblique way, contemporary events at the court. This typology was based on&nbsp;<em>inventio,&nbsp;<\/em>its verisimilitude, and the moral significance of particular works. These criteria, considered by d&#8217;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&#8217;Aubignac criticised all types of existing novels. Instead, he proposed, as a new model, his own allegorical novel&nbsp;<em>Macarise&nbsp;<\/em>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&#8217;Aubignac proposal was, however, roundly rejected by the readers; the novel was pronounced badly structured and boring.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>French theory and criticism, 17<sup>th<\/sup>-century French novel, baroque French adventure novel<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Michel&nbsp;<strong>QUEREUIL<\/strong>, Les italianismes dans le&nbsp;<em>Devisement du monde<\/em>&nbsp;de Marco Polo&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ITALIAN BORROWINGS IN MARCO POLO\u2019S&nbsp;<em>DEVISEMENT DU MONDE<\/em><\/p>\n\n\n\n<p><em>Le Devisement du monde<\/em>, which gives an account of Marco Polo\u2019s 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\u2019s 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.<\/p>\n\n\n\n<p><strong>Ke<\/strong><strong>y words<\/strong>: Italian loan-words, vocabulary<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Piotr&nbsp;<strong>SAWICKI<\/strong>, Jitka&nbsp;<strong>SMI\u010cEKOV\u00c1<\/strong>,&nbsp;<em>Vieil arbre d\u2019un coup ne s\u2019arrache<\/em>. Gobelin staro\u015bci zbiorow\u0105 wyobra\u017ani\u0105 czterech narod\u00f3w spleciony&nbsp;<strong>127<\/strong><\/li>\n<\/ul>\n\n\n\n<p>R\u00e9sum\u00e9<\/p>\n\n\n\n<p><em>VIEIL ARBRE D<\/em><em>\u2019UN COUP NE S\u2019ARRACHE<\/em>. UNE TAPISSERIE DE LA VIEILLESSE TISS\u00c9E DANS L\u2019IMAGINAIRE COLLECTIF DE QUATRE PEUPLES<\/p>\n\n\n\n<p>Nous avons observ\u00e9 les similitudes et les diff\u00e9rences dans la mani\u00e8re d\u2019exprimer et de valoriser les ph\u00e9nom\u00e8nes et les comportements caract\u00e9ristiques de la vieillesse sur base des proverbes fran\u00e7ais, espagnols, polonais et tch\u00e8ques les plus marqu\u00e9s. Class\u00e9s par th\u00e8mes, ils donnent une image de la vieillesse m\u00eame, mais aussi des pr\u00e9jug\u00e9s et des restrictions que chacune de ces cultures lui superposent, en particulier dans le domaine \u00e9rotique. Les questions \u00e9rotiques transparaissent surtout dans la tradition espagnole, plus conservatrice, tandis que proverbes fran\u00e7ais, plus sentencieux et plus complexes, expriment avec subtilit\u00e9 tant les limitations que les besoins du troisi\u00e8me \u00e2ge. Quant aux proverbes slaves, ils ont un caract\u00e8re plus populaire, ils sont expressifs et truculents, ils sont souvent ironiques, voire mordants. Leur caract\u00e8re explicite et imag\u00e9 rappelle le&nbsp;<em>refranero<\/em>&nbsp;espagnol et confirme des similitudes entre l\u2019imaginaire populaire de ces deux cultures, certes \u00e9loign\u00e9es l\u2019une de l\u2019autre g\u00e9ographiquement, mais enracin\u00e9es dans un tronc culturel commun, dans la civilisation de l\u2019Europe romanis\u00e9e o\u00f9 le latin, comme langue de communication, a aussi donn\u00e9 les prototypes de nombreux proverbes.<\/p>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>VIEIL ARBRE D\u2019UN COUP NE S&#8217;ARRACHE.&nbsp;<\/em>TAPESTRY OF THE OLD AGE WOVEN BY COMMON IMAGINATION OF FOUR NATIONS<\/p>\n\n\n\n<p>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&#8217;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&nbsp;<em>refranero,&nbsp;<\/em>which confirms the similarity of the folk imagination of the nations &#8211; 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.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>old age in proverbs, Romaine and Slavonic proverbs<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Edmund&nbsp;<strong>SIKORA<\/strong>, S\u00e9mantique lexicale du point de vue du Lexique G\u00e9n\u00e9ratif&nbsp;<strong>139<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>LEXICAL SEMANTICS FROM THE POINT OF VIEW OF THE&nbsp;<em>GENERATIVE LEXICON<\/em>&nbsp;THEORY<\/p>\n\n\n\n<p>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\u2019s&nbsp;<em>Generative Lexicon<\/em>&nbsp;theory. There are two components of the&nbsp;<em>Generative Lexicon<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>semantic representation of the meaning of lexical units, and<\/li>\n\n\n\n<li>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.<\/li>\n<\/ul>\n\n\n\n<p>The first component concerns four levels of the definition of meaning. They are:<\/p>\n\n\n\n<p>&#8211; argument structure implied by a given lexical unit,<\/p>\n\n\n\n<p>&#8211; event structure,<\/p>\n\n\n\n<p>&#8211; structure of typical features of a given object or event called&nbsp;<em>qualia,<\/em><\/p>\n\n\n\n<p>&#8211;&nbsp;inheritance structure which show how a particular structure of meaning is related to other structures with respect to the selection of typical arguments.<\/p>\n\n\n\n<p>The second component concerns three types of processes generating new meanings. They are:<\/p>\n\n\n\n<p>&#8211; \u201ccoercing\u201d of a change in the typical semantic interpretation of a given lexical unit by the<\/p>\n\n\n\n<p>superordinate word, without changing its typical syntactic value,<\/p>\n\n\n\n<p>&#8211; selective binding of the current meaning of an adjective depending on the meaningful part of the noun determined by this adjective,<\/p>\n\n\n\n<p>&#8211; co-composition that explains the change in the meaning of, for instance, a verb caused by the meaning of its argument.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>type coercion, selective binding, co-composition<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>SKIBI\u0143SKA<\/strong>, D\u00e9personnalisation et anonymat au service des id\u00e9es re\u00e7ues : observations sur le pronom&nbsp;<em>on<\/em>&nbsp;dans&nbsp;<em>Madame Bovary<\/em>&nbsp;<strong>151<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>INDEFINITENESS AND ANONYMITY IN THE SERVICE OF STEREOTYPE: REFLECTIONS ON THE PRONOUN&nbsp;<em>ON&nbsp;<\/em>IN&nbsp;<em>MADAME BOVARY<\/em><\/p>\n\n\n\n<p>The French pronoun&nbsp;<em>on,&nbsp;<\/em>whose interpretation &#8211; as it has often been described in detail &#8211; 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&nbsp;of<em>&nbsp;on&nbsp;<\/em>in literary texts (Maingueneau, Rabatel, Jonasson, Mellet). The present author intends to determine certain specific ways of using&nbsp;<em>on.&nbsp;<\/em>She analyses those situations in&nbsp;<em>Madame Bovary&nbsp;<\/em>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 pro\u00adnoun strengthens the stereotypical nature of the behaviour or statements of some characters, which reflects one of the central ideas of Flaubert\u2019s novel, to expose the working of stereotypes.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>French pronoun&nbsp;<em>on,&nbsp;<\/em>French novel, stereotype<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Witold&nbsp;<strong>UCHEREK<\/strong>, L\u2019expression&nbsp;<em>\u00e0 la base de<\/em>&nbsp;est-elle un \u00e9quivalent fran\u00e7ais des locutions polonaises&nbsp;<em>na podstawie<\/em>&nbsp;(+<em>g\u00e9nitif<\/em>),&nbsp;<em>na bazie<\/em>&nbsp;(+<em>g\u00e9nitif<\/em>) et&nbsp;<em>w oparciu o<\/em>&nbsp;(+<em>accusatif<\/em>)&nbsp;?&nbsp;<strong>161<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>IS THE PHRASE&nbsp;<em>\u00c1 LA BASE DE&nbsp;<\/em>THE FRENCH EQUIVALENT&nbsp;OF THE POLISH PREPOSITIONAL PHRASES&nbsp;<em>NA PODSTAWIE [ON THE BASIS OF]&nbsp;<\/em>( + GENITIVE),&nbsp;<em>NA BAZIE [BASED ON]&nbsp;<\/em>(+GENITIVE) AND&nbsp;<em>W OPARCIU O [DRAWING ON]&nbsp;<\/em>(+ACCUSATIVE)?<\/p>\n\n\n\n<p>The article is an attempt to determine what makes native speakers of Polish use the complex preposition&nbsp;<em>\u00e1 la base de&nbsp;<\/em>to express the relational feature &#8216;opieraj\u0105c si\u0119 na&#8217; [drawing on], instead of using&nbsp;<em>sur la base de&nbsp;<\/em>in this context. Although an analysis of particular&nbsp;<em>base-<\/em>linked entries in selected French dictionaries reveals a rather fragmentary picture of the relations between phrases containing the nominal element&nbsp;<em>base,&nbsp;<\/em>phrases which also include&nbsp;<em>\u00e1 base de&nbsp;<\/em>and&nbsp;<em>sur base de,&nbsp;<\/em>there is no doubt that only&nbsp;<em>sur la base&nbsp;<\/em>can be regarded as an inter-language synonym of such Polish structures as&nbsp;<em>na podstawie czego\u015b&nbsp;<\/em>[on the basis of something],&nbsp;<em>w oparciu o co\u015b&nbsp;<\/em>[drawing on something] or&nbsp;<em>na bazie czego\u015b&nbsp;<\/em>[based on something]. Yet the existing general bilingual Polish-French and French-Polish dictionaries do not confirm the existence of such an equivalence:&nbsp;<em>na podstawie czego\u015b&nbsp;<\/em>and its synonyms are usually translated with participial phrases, while&nbsp;<em>sur la base de&nbsp;<\/em>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&nbsp;<em>base.&nbsp;<\/em>In addition, from among the four phrases containing this component they choose&nbsp;<em>\u00e1 la base de&nbsp;<\/em>since it follows the most frequent structural pattern of French complex prepositions.<\/p>\n\n\n\n<p><strong>Key words:&nbsp;<\/strong>French and Polish prepositions, comparative linguistics, translation<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-029836a ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-029836a .ugb-accordion__title{line-height:1em !important}.ugb-029836a .ugb-accordion__arrow{fill:#ffffff}.ugb-029836a .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-029836a.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LIV (2007) &#8211; &#8220;Le verbe dans tous ses \u00e9tats&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p><em>Le verbe dans tous ses&nbsp;<\/em><em>\u00e9tats<\/em><\/p>\n\n\n\n<p>Volume d\u00e9di\u00e9 au Professeur Edmund Sikora \u00e0 l\u2019occasion de ses 70 ans<\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 Monika Grabowska<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2007<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 2941)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduction&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Davide ARTICO, Alcune considerazioni sull\u2019uso del passato remoto nel XVI secolo&nbsp;<strong>11<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Note sur le verbe du dire en discours direct. Cas de la presse \u00e9crite&nbsp;<strong>19<\/strong><\/li>\n\n\n\n<li>Pedro CAMPOS FERN\u00c1NDEZ DE PI\u00c9ROLA, La referencia de las oraciones ecuativas&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Monika G\u0141OWICKA, Valores y usos de algunos verbos de movimiento espa\u00f1oles y sus equivalentes polacos&nbsp;<strong>35<\/strong><\/li>\n\n\n\n<li>Monika GRABOWSKA, Le participe pr\u00e9sent dans la didactique du fran\u00e7ais langue \u00e9trang\u00e8re&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Stefan KAUFMAN, Le verbe en langues de la sp\u00e9cialit\u00e9&nbsp;: vers une description terminographique&nbsp;<strong>67<\/strong><\/li>\n\n\n\n<li>Ewelina MARCZAK,&nbsp;<em>Dire, hasarder les demi-mots, ouvrir la bouche<\/em>&#8230; Quelques remarques sur les verbes de communication dans&nbsp;<em>Armance<\/em>&nbsp;de Stendhal&nbsp;<strong>77<\/strong><\/li>\n\n\n\n<li>Natalia PAPROCKA, Verbes de communication et autres introducteurs de citations du discours direct dans les articles de presse fran\u00e7aise et dans leurs traductions polonaises&nbsp;<strong>91<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Comment on parlait de la nature dans la seconde moiti\u00e9 du XVII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;: la correspondance de Mme de S\u00e9vign\u00e9&nbsp;<strong>109<\/strong><\/li>\n\n\n\n<li>El\u017cbieta SKIBI\u0143SKA,&nbsp;<em>On<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;dans la traduction polonaise de r\u00e9cits historiques&nbsp;: observations&nbsp;<strong>119<\/strong><\/li>\n\n\n\n<li>Eugeniusz UCHEREK, Les corr\u00e9lations&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; et&nbsp;<em>d<\/em><em>\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;et leurs \u00e9quivalents traductifs polonais dans les constructions avec les verbes de mouvement&nbsp;<strong>133<\/strong><\/li>\n\n\n\n<li>Dominique VERBEKEN, Pr\u00e9sent et pr\u00e9sentification&nbsp;: une question de point de vue&nbsp;<strong>139<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide&nbsp;<strong>ARTICO<\/strong>, Alcune considerazioni sull\u2019uso del passato remoto nel XVI secolo&nbsp;<strong>11<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>SOME REMARKS ON THE USE OF SIMPLE PAST TENSE IN THE 16<sup>th<\/sup>&nbsp;CENTURY TUSCAN<\/p>\n\n\n\n<p>The article presents selected results of a research on the use of past tenses in the 16<sup>th<\/sup>&nbsp;century\u2019s Tuscan based upon a fragment from one Giorgio Vasari\u2019s letters. In the analysis, forms are provided of a simple past tense which is morphologically similar to&nbsp;<em>passato remoto<\/em>&nbsp;in modern Italian, although it was meant to describe past actions still connected to the present. Therefore, the tense approximately acted as the Latin&nbsp;<em>perfectum logicum<\/em>. The examined text features as well forms of a composed (auxiliary and past participle) perfect tense whose similarities to today\u2019s&nbsp;<em>passato prossimo<\/em>&nbsp;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&nbsp;<em>Cinquecento<\/em>.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: 16<sup>th<\/sup>&nbsp;century\u2019s Tuscan, past simple tense, present perfect, auxiliary verbs, passive voice<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>BIARDZKA<\/strong>, Note sur le verbe du dire en discours direct. Cas de la presse \u00e9crite&nbsp;<strong>19<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>NOTE ABOUT SAYING VERBS IN THE DIRECT SPEECH. THE WRITTEN PRESS EXAMPLE<\/p>\n\n\n\n<p>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&nbsp;<em>verbum dicendi<\/em>: 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&nbsp;<em>Le Monde<\/em>. 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\u2019s attention by forcing them to reconstruct, as it were, incomplete structures when reading.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: direct speech, saying verbs (<em>verbum dicendi<\/em>), language of written press<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Pedro CAMPOS FERN\u00c1NDEZ DE&nbsp;<strong>PI\u00c9ROLA<\/strong>, La referencia de las oraciones ecuativas&nbsp;<strong>25<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE REFERENCE OF EQUATIVE SENTENCES<\/p>\n\n\n\n<p>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&nbsp;<em>attribute<\/em>&#8211;<em>copula<\/em>&#8211;<em>attribute<\/em>, in which the subject is implicit and not mentioned.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: reference, sentence, attribute, subject<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>G\u0141OWICKA<\/strong>, Valores y usos de algunos verbos de movimiento espa\u00f1oles y sus equivalentes polacos&nbsp;<strong>35<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>SPANISH VERBS OF MOVEMENT AND THEIR POLISH EQUIVALENTS<\/p>\n\n\n\n<p>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&nbsp;<em>ir<\/em>,&nbsp;<em>venir<\/em>,&nbsp;<em>llegar<\/em>, 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Spanish verbs of movement&nbsp;<em>ir<\/em>,&nbsp;<em>venir<\/em>,&nbsp;<em>llegar<\/em>, Polish equivalents, contrastive analysis, didactics, linguistic errors<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Monika&nbsp;<strong>GRABOWSKA<\/strong>, Le participe pr\u00e9sent dans la didactique du fran\u00e7ais langue \u00e9trang\u00e8re&nbsp;<strong>47<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>PARTICIPE PR\u00c9SENT<\/em>&nbsp;IN THE DIDACTICS OF FRENCH<\/p>\n\n\n\n<p>The article is devoted to&nbsp;<em>participe pr\u00e9sent<\/em>, 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&nbsp;<em>g\u00e9rondif<\/em>&nbsp;and&nbsp;<em>adjectif verbal<\/em>, the form causes much controversy with the students and teachers of French as a foreign language. Contentious examples illustrating the opposition conclude the article\u2019s 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&nbsp;<em>participe pr\u00e9sent<\/em>, attempts were made to explain the cases of use of&nbsp;<em>participe pass\u00e9<\/em>&nbsp;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&nbsp;<em>Langages<\/em>&nbsp;(T. Arnavielle \u2013 Ed.) (<em>Participe pr\u00e9sent et g\u00e9rondif<\/em>).<\/p>\n\n\n\n<p><strong>Key words<\/strong>:&nbsp;<em>participe pr\u00e9sent<\/em>,&nbsp;<em>g\u00e9rondif<\/em>, grammar of French as a foreign language, didactics of French as a foreign language<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Stefan&nbsp;<strong>KAUFMAN<\/strong>, Le verbe en langues de la sp\u00e9cialit\u00e9&nbsp;: vers une description terminographique&nbsp;<strong>67<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE VERB IN LANGUAGE FOR SPECIAL PURPOSES \u2013 ISSUES IN TERMINOLOGICAL DESCRIPTION<\/p>\n\n\n\n<p>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\u2019s definition and accuracy. To conclude, the author discusses the issue of the description of the discussed phenomena in terminological dictionaries.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: language for special purposes, terminology, terminography, verb<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ewelina&nbsp;<strong>MARCZAK<\/strong>,&nbsp;<em>Dire, hasarder les demi-mots, ouvrir la bouche<\/em>&#8230; Quelques remarques sur les verbes de communication dans&nbsp;<em>Armance<\/em>&nbsp;de Stendhal&nbsp;<strong>77<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>COMMUNICATION VERBS IN STENDHAL\u2019S&nbsp;<em>ARMANCE<\/em><\/p>\n\n\n\n<p>This work is concerned with lexemes denoting communication behaviour. The author\u2019s task was to research what verbs in a narrative may function similarly as the group of verbs which linguists call&nbsp;<em>verba dicendi<\/em>. The basic funcion of the latter is to introduce text into text, sequences of quoted words into quoting text. The research material was Stendhal\u2019s first novel&nbsp;<em>Armance<\/em>. All the verbs used by the narrator to quote and present the character\u2019s 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&nbsp;<em>verba dicendi<\/em>. 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\u2019s speech in the narrative is referred to as verbs of communication.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: verbs of communication, reporting verbs, narratised speech, transposed speech, reported speech, character\u2019s words<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Natalia&nbsp;<strong>PAPROCKA<\/strong>, Verbes de communication et autres introducteurs de citations du discours direct dans les articles de presse fran\u00e7aise et dans leurs traductions polonaises&nbsp;<strong>91<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>VERBS OF COMMUNICATION AND OTHER ELEMENTS INTRODUCING QUOTATIONS IN DIRECT SPEECH IN ARTICLES IN FRENCH PRESS AND THEIR POLISH TRANSLATIONS<\/p>\n\n\n\n<p>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\u2019s \u201cinvolvement\u201d in what is being quoted.<\/p>\n\n\n\n<p>The corpus was formed by 300 examples of quotations including introducing elements from French press and their Polish translations published in&nbsp;<em>Forum<\/em>.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: quotation, verb of communication, element introducing quotation, involvement, translation of press articles<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja&nbsp;<strong>PAW\u0141OWSKA<\/strong>, Comment on parlait de la nature dans la seconde moiti\u00e9 du XVII<sup>e<\/sup>&nbsp;si\u00e8cle&nbsp;: la correspondance de Mme de S\u00e9vign\u00e9&nbsp;<strong>109<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>HOW THEY TALKED ABOUT NATURE IN THE 17<sup>th<\/sup>&nbsp;CENTURY: MME DE S\u00c9VIGN\u00c9\u2019S CORRESPONDENCE<\/p>\n\n\n\n<p>Marchioness de S\u00e9vign\u00e9 was one of very few people creating literary descriptions of nature in the second part of the 17<sup>th<\/sup>&nbsp;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 S\u00e9vign\u00e9 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 S\u00e9vign\u00e9\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Mme de S\u00e9vign\u00e9, French epistolary literature, nature<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta&nbsp;<strong>SKIBI\u0143SKA<\/strong>,&nbsp;<em>On<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;dans la traduction polonaise de r\u00e9cits historiques&nbsp;: observations&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>ON<\/em>&nbsp;+&nbsp;<em>VOIR<\/em>&nbsp;IN THE POLISH TRANSLATION OF HISTORIANS\u2019 WORKS: REMARKS<\/p>\n\n\n\n<p>The article analyses the use of the structure&nbsp;<em>on<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;in the historians\u2019 work and demonstrates that the uses are divided into two groups: in the first the verb&nbsp;<em>voir<\/em>&nbsp;is used in its primary meaning (visual perception); in the other it denotes intellectual perception. The latter use is characteristic for scientific text:&nbsp;<em>on<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;may be considered as one of the rhetoric elements emphasising the \u201ccommunity\u201d 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&nbsp;<em>on<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;serves the purpose of spatial location of objects, and b. the situations typical for narrative parts when&nbsp;<em>on<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;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&nbsp;<em>on<\/em>&nbsp;+&nbsp;<em>voir<\/em>&nbsp;with the infinitive clause of the visual perception element disappears (observed in the translation of both types of texts), which requires further study.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: French pronoun&nbsp;<em>on<\/em>, French verb&nbsp;<em>voir<\/em>, historical narrative, Polish translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Eugeniusz&nbsp;<strong>UCHEREK<\/strong>, Les corr\u00e9lations&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; et&nbsp;<em>d<\/em><em>\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;et leurs \u00e9quivalents traductifs polonais dans les constructions avec les verbes de mouvement&nbsp;<strong>133<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>CORRELATIONS&nbsp;<em>DE<\/em>&#8230;&nbsp;<em>EN<\/em>&#8230; AND&nbsp;<em>D\u2019UN<\/em>&#8230;&nbsp;<em>\u00c0 L\u2019AUTRE<\/em>&nbsp;AND THEIR POLISH TRANSLATION EQUIVALENTS IN THE STRUCTURES WITH VERBS OF MOVEMENT<\/p>\n\n\n\n<p>The article compares French correlations&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; and&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;with each other and with their Polish translation equivalents in the structures with the verbs of movement. The analysis proves that the correlation&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; 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&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;the verb of movement may occur in the perfective or imperfective form. Following the verbs of movement in the perfective form, the correlation&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;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&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; and&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>&nbsp;behave similarly as the correlation&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>: 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&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>. Consequently, Polish translation equivalents following the verbs of movement in imperfective form neutralise the opposition between&nbsp;<em>de<\/em>&#8230;&nbsp;<em>en<\/em>&#8230; and&nbsp;<em>d\u2019un<\/em>&#8230;&nbsp;<em>\u00e0 l\u2019autre<\/em>. Contrary to the French correlations, some contexts require the use of equivalents allowing for two-dimensional or three-dimensional character of localisers.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: French and Polish prepositions, translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dominique&nbsp;<strong>VERBEKEN<\/strong>, Pr\u00e9sent et pr\u00e9sentification&nbsp;: une question de point de vue&nbsp;<strong>139<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>PRESENT AND PRESENTIFICATION<\/p>\n\n\n\n<p>The aim of this article is to reconsider the effect of presentification which the&nbsp;<em>pr\u00e9sent<\/em>&nbsp;has when it indicates a past \u201ceventuality\u201d 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 \u2013 hypotypose \u2013 are distinguished by attaching them to the enunciative strategy, which implies that any narration is an act of \u201chandling the reader or the listener\u201d. Thus, three types of narrative present are defined: the&nbsp;<em>pr\u00e9sent narratif<\/em>&nbsp;\u201ctraditional\u201d (the eventuality seems occur \u201cunder the eyes\u201d of the&nbsp;<em>narrataire<\/em>), the&nbsp;<em>pr\u00e9sent narratif<\/em>&nbsp;\u201c<em>descriptif<\/em>\u201d (this type of&nbsp;<em>pr\u00e9sent<\/em>&nbsp;gives the impression of a concomitance between the moment of the narration and the moment of the eventuality) and the&nbsp;<em>pr\u00e9sent narratif<\/em>&nbsp;\u201c<em>communicatif<\/em>\u201d (the&nbsp;<em>pr\u00e9sent&nbsp;<\/em>connects the narrator to the&nbsp;<em>narrataire<\/em>&nbsp;at the same time).<\/p>\n\n\n\n<p><strong>Key words<\/strong>: verbal tense, present, presentification, narration<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-c12e798 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-c12e798 .ugb-accordion__title{line-height:1em !important}.ugb-c12e798 .ugb-accordion__arrow{fill:#ffffff}.ugb-c12e798 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-c12e798.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LV (2008) &#8211; &#8220;Traduire le drame&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/223\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Traduire le drame<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 Justyna \u0141ukaszewicz<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2008<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 3062)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>INTRODUCTION (Justyna \u0141ukaszewicz)&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>No\u00e9mie COURT\u00c8S, Plaute et Rotrou: la traduction des com\u00e9dies au XVII<sup>e<\/sup>&nbsp;si\u00e8cle, entre respect et cr\u00e9ation&nbsp;<strong>17<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA,&nbsp;<em>Moyens pour apprendre a traduire de latin en fran\u00e7ois<\/em>&nbsp;de Gaspard de Tende et les r\u00e8gles de la traduction scolaire des com\u00e9dies de T\u00e9rence&nbsp;<strong>25<\/strong><\/li>\n\n\n\n<li>Dobrochna RATAJCZAKOWA, L\u2019adaptation en tant que domaine de la com\u00e9die polonaise du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle dans le recueil des drames de Wojciech Bogus\u0142awski&nbsp;<strong>35<\/strong><\/li>\n\n\n\n<li>Justyna \u0141UKASZEWICZ, Franciszek Kowalski, \u00e9pigone de la polonisation \u00e0 la mode dix-huiti\u00e9miste&nbsp;<strong>57<\/strong><\/li>\n\n\n\n<li>Jos\u00e9 Luis Losada PALENZUELA, Schopenhauer y Calder\u00f3n: interpretar el drama sin religi\u00f3n&nbsp;<strong>69<\/strong><\/li>\n\n\n\n<li>Olga P\u0141ASZCZEWSKA,&nbsp;<em>La Figlia di Iorio<\/em>&nbsp;nella versione di Maria Konopnicka&nbsp;<strong>79<\/strong><\/li>\n\n\n\n<li>Jadwiga \u017bYSZKOWSKA, La gastronomie dans des pi\u00e8ces choisies de Moli\u00e8re et dans leurs traductions par Tadeusz Boy-\u017bele\u0144ski&nbsp;<strong>87<\/strong><\/li>\n\n\n\n<li>Davide ARTICO, William Shakespeare nelle traduzioni italiane di Goffredo Raponi&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Maurizio MAZZINI, Stile colloquiale e turpiloquio fra intraducibilit\u00e0 e problemi di dosaggio sull\u2019esempio di&nbsp;<em>Novecento<\/em>&nbsp;di Alessandro Baricco nella traduzione polacca di Halina Kralowa&nbsp;<strong>117<\/strong><\/li>\n\n\n\n<li>Justyna WESO\u0141A, Onomatopeyas convencionales espa\u00f1olas en traducciones polacas de obras dram\u00e1ticas&nbsp;<strong>131<\/strong><\/li>\n\n\n\n<li>Constantin BOBAS, De la traduction pour le th\u00e9\u00e2tre: paroles \u2013 silences \u2013 rencontres, variantes et formes d\u2019exp\u00e9rimentations possibles du th\u00e9\u00e2tre n\u00e9o-hell\u00e9nique en fran\u00e7ais&nbsp;<strong>145<\/strong><\/li>\n\n\n\n<li>Ginette HERRY, De la sp\u00e9cificit\u00e9 du texte th\u00e9\u00e2tral et de sa traduction&nbsp;<strong>151<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>No\u00e9mie&nbsp;<strong>COURT\u00c8S<\/strong>, Plaute et Rotrou: la traduction des com\u00e9dies au XVII<sup>e<\/sup>&nbsp;si\u00e8cle, entre respect et cr\u00e9ation&nbsp;<strong>17<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17<sup>th<\/sup>&nbsp;CENTURY. BETWEEN RESPECT AND CREATION<\/p>\n\n\n\n<p>When translating ancient comic dramas, the playwrights of early 17th-century France adapt the texts to contemporary&nbsp;<em>biens\u00e9ances<\/em>&nbsp;both poetical and social ones. Stemming from&nbsp;<em>Captivi<\/em>&nbsp;by Plautus,&nbsp;<em>Les Captifs<\/em>&nbsp;demonstrates the necessary \u201cimitating\u201d 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&nbsp;<em>dispositio<\/em>&nbsp;in order to produce a good modern comedy.<\/p>\n\n\n\n<p><strong>Key w<\/strong><strong>ords<\/strong>: Plautus, Rotrou, imitation, comedy,&nbsp;<em>Les Captifs<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja PAW\u0141OWSKA,&nbsp;<em>Moyens pour apprendre a traduire de latin en fran\u00e7ois<\/em>&nbsp;de Gaspard de Tende et les r\u00e8gles de la traduction scolaire des com\u00e9dies de T\u00e9rence&nbsp;<strong>25<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>MOYENS POUR APPRENDRE A TRADUIRE DE<\/em><em>&nbsp;LATIN EN FRAN\u00c7OIS<\/em>&nbsp;BY GASPARD DE TENDE AND THE RULES OF SCHOLARLY TRANSLATION OF A COMEDY BY T\u00c9RENCE<\/p>\n\n\n\n<p>In 1660 appear the&nbsp;<em>Regles de la traduction ou Moyens pour apprendre a traduire<\/em>&nbsp;<em>de latin en fran\u00e7ois<\/em>&nbsp;by Gaspard de Tende \u2013 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 T\u00e9rence\u2019s comedy\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: T\u00e9rence, Gaspard de Tende, translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dobrochna RATAJCZAKOWA, L\u2019adaptation en tant que domaine de la com\u00e9die polonaise du XVIII<sup>e<\/sup>&nbsp;si\u00e8cle dans le recueil des drames de Wojciech Bogus\u0142awski&nbsp;<strong>35<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ADAPTATION \u2013 A DISTINCTIVE FEATURE OF THE 18<sup>th<\/sup>&nbsp;CENTURY POLISH COMEDY IN A COLLECTION OF DRAMAS BY WOJCIECH BOGUS\u0141AWSKI<\/p>\n\n\n\n<p>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 19<sup>th<\/sup>&nbsp;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 Stanis\u0142aw August and after Poland lost its independence, as well as Stanis\u0142aw August\u2019s 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,&nbsp;<em>Szko\u0142a obmowy<\/em>&nbsp;[The School for Scandal] adapted from Sheridan, the work selected from exceptional in the Polish dramaturgy collection&nbsp;<em>Dzie\u0142a dramatyczne<\/em>&nbsp;[Dramatic Works] by Wojciech Bogus\u0142awski, 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: adaptation, comedy, Wojciech Bogus\u0142awski, Polish theatre<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Justyna \u0141UKASZEWICZ, Franciszek Kowalski, \u00e9pigone de la polonisation \u00e0 la mode dix-huiti\u00e9miste&nbsp;<strong>57<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FRANCISZEK KOWALSKI, AN EPIGONE OF A NATIONALIZED ADAPTATION<\/p>\n\n\n\n<p>In his collection of Moli\u00e8re translations published in the middle of the 19<sup>th<\/sup>&nbsp;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&nbsp;<em>Le M\u00e9decin malgr\u00e9 lui<\/em>&nbsp;and the comedy&nbsp;<em>Amphitryon<\/em>&nbsp;with their adaptations by Franciszek Zab\u0142ocki (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&nbsp;<em>Amphitryon<\/em>&nbsp;they both used colloquial, expressive and vivid language, introduced significant names, proverbs, diminutives and more brutality to the work). In the case of&nbsp;<em>Doctor Perforce<\/em>, 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&nbsp;<em>Amphitryon<\/em>&nbsp;Zab\u0142ocki enters a more informal relation with the original and the theatre traditions, though the register and style of Kowalski\u2019s language also diverge much from the original.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: translation, adaptation, Moli\u00e8re, Franciszek Kowalski, Franciszek Zab\u0142ocki<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jos\u00e9 Luis Losada PALENZUELA, Schopenhauer y Calder\u00f3n: interpretar el drama sin religi\u00f3n&nbsp;<strong>69<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>SCHOPENHAUER READS CALDER\u00d3N: TO INTERPRET DRAMA WITHOUT RELIGION<\/p>\n\n\n\n<p>The point of view Arthur Schopenhauer introduces to the history of reception of Calder\u00f3n\u2019s dramaturgy in Germany is close to Goethe\u2019s 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 Calder\u00f3n\u2019s 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&nbsp;<em>The Constant Prince<\/em>&nbsp;for the performance he prepared, significantly changed its German translation by Schlegel, reducing the surfeit of Christian elements in it.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: interpretation, religion, Schopenhauer, German Romanticism, Calder\u00f3n, tragedy<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Olga P\u0141ASZCZEWSKA,&nbsp;<em>La Figlia di Iorio<\/em>&nbsp;nella versione di Maria Konopnicka&nbsp;<strong>79<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>THE DAUGHTER OF JORIO<\/em>: MARIA KONOPNICKA\u2019S TRANSLATION<\/p>\n\n\n\n<p>In consequence of the Polish public\u2019s interest in the newest achievements of the European dramaturgy,&nbsp;<em>The Daughter of Jorio<\/em>&nbsp;by Gabriele D\u2019Annunzio has been staged twice \u2013 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\u2019Annunzio\u2019s work.<\/p>\n\n\n\n<p><strong>Key words<\/strong>:&nbsp;<em>The Daughter of Jorio<\/em>, Gabriele D\u2019Annunzio, Maria Konopnicka, modernistic drama, theatre, stage play translation, translatology, comparative literature, history of theatre, Italian theatre in Poland<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jadwiga \u017bYSZKOWSKA, La gastronomie dans des pi\u00e8ces choisies de Moli\u00e8re et dans leurs traductions par Tadeusz Boy-\u017bele\u0144ski&nbsp;<strong>87<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>GASTRONOMY IN MOLI\u00c8RE\u2019S SELECTED WORKS AND THEIR TRANSLATIONS BY TADEUSZ BOY-\u017bELE\u0143SKI<\/p>\n\n\n\n<p>The study analyses the translations of expressions related to gastronomy found in three of Moli\u00e8re\u2019s works. The author of the translations is Tadeusz Boy-\u017bele\u0144ski, 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 \u017bele\u0144ski\u2019s unfamiliarity with the 17<sup>th<\/sup>&nbsp;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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: cultural aspects in translation, French cuisine, comedy, theatre<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide ARTICO, William Shakespeare nelle traduzioni italiane di Goffredo Raponi&nbsp;<strong>99<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>WILLIAM SHAKESPEARE IN ITALIAN TRANSLATIONS BY GOFFREDO RAPONI<\/p>\n\n\n\n<p>The article analyses selected Italian translations of Shakespeare\u2019s 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\u2019s 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\u2019s notes, often in the form of commentaries of a historico-literary character, is also a common feature of Raponi\u2019s translations.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: William Shakespeare, drama translation, language registers, translator\u2019s notes<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maurizio MAZZINI, Stile colloquiale e turpiloquio fra intraducibilit\u00e0 e problemi di dosaggio sull\u2019esempio di&nbsp;<em>Novecento<\/em>&nbsp;di Alessandro Baricco nella traduzione polacca di Halina Kralowa&nbsp;<strong>117<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>COLLOQUIALISMS AND VULGARITIES AS A TRANSLATION PROBLEM: HALINA KRALOWA\u2019S TRANSLATION OF&nbsp;<em>NOVECENTO<\/em>&nbsp;BY ALESSANDRO BARICCO<\/p>\n\n\n\n<p>The article deals with the problem of translations of colloquialisms and vulgarities in a literary work, on the example of Halina Kralowa\u2019s translation of&nbsp;<em>Novecento<\/em>&nbsp;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 \u2013 based on the change of the word order in a sentence or the pleonastic use of pronominal particle&nbsp;<em>ci<\/em>&nbsp;\u2013 which prove that the style is not always posible to translate.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: colloquialisms, vulgarism, Baricco,&nbsp;<em>Novecento<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Justyna WESO\u0141A, Onomatopeyas convencionales espa\u00f1olas en traducciones polacas de obras dram\u00e1ticas&nbsp;<strong>131<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>DICTIONARY ONOMATOPOEIA IN THE POLISH TRANSLATIONS OF THE SPAIN DRAMAS<\/p>\n\n\n\n<p>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 \u2013 the only way of rendering its prosodic features (length, intonation) in writing.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: onomatopoeia, translation, drama<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Constantin BOBAS, De la traduction pour le th\u00e9\u00e2tre: paroles \u2013 silences \u2013 rencontres, variantes et formes d\u2019exp\u00e9rimentations possibles du th\u00e9\u00e2tre n\u00e9o-hell\u00e9nique en fran\u00e7ais&nbsp;<strong>145<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>WORDS \u2013 SILENCE \u2013 ENCOUNTERS, VARIANTS AND EXPERIMENTAL FORMS OF WORKS OVER THE TRANSLATION OF THE MODERN GREEK THEATRE INTO FRENCH LANGUAGE<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: drama, theatre translation, theatre translation theory, modern Greek theatre<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ginette HERRY, De la sp\u00e9cificit\u00e9 du texte th\u00e9\u00e2tral et de sa traduction&nbsp;<strong>151<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ON THE SPECIFICITY OF THE THEATRICAL TEXT AND ITS TRANSLATION<\/p>\n\n\n\n<p>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\u2019s language and culture.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: 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\/\u2018decoy\u2019 speech, the social art\/collective expectances horizon, theatre of play\/theatre of text, Italian style<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-cfa01b6 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-cfa01b6 .ugb-accordion__title{line-height:1em !important}.ugb-cfa01b6 .ugb-accordion__arrow{fill:#ffffff}.ugb-cfa01b6 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-cfa01b6.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LVI (2009) &#8211; &#8220;Les mots p\u00e8lerins&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/222\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Les mots p\u00e8lerins<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 El\u017cbieta Biardzka<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2009<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 3129)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Avant-propos (El\u017cbieta Biardzka)&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Davide ARTICO,&nbsp;<em>Il Sergente<\/em>&nbsp;di Marco Paolini quale adattamento scenico del romanzo di Mario Rigoni Stern&nbsp;<strong>9<\/strong><\/li>\n\n\n\n<li>El\u017cbieta BIARDZKA, Pour une<strong>&nbsp;<\/strong>d\u00e9finition&nbsp;<em>discursive<\/em>&nbsp;du discours rapport\u00e9<strong>&nbsp;21<\/strong><\/li>\n\n\n\n<li>Anna BOCHNAKOWA, Titres en vadrouille&nbsp;<strong>39<\/strong><\/li>\n\n\n\n<li>Jadwiga COOK, Le portrait du personnage par ses paroles: les h\u00e9ros du roman d\u2019Anna Gavalda&nbsp;<em>Ensemble, c\u2019est tout<\/em>&nbsp;en fran\u00e7ais et en polonais&nbsp;<strong>51<\/strong><\/li>\n\n\n\n<li>Anna DUTKA-MA\u0143KOWSKA, La circulation du discours: le dit d\u2019origine \u00e9nonciative ind\u00e9termin\u00e9e en fran\u00e7ais et en polonais&nbsp;<strong>63<\/strong><\/li>\n\n\n\n<li>Krystyna GABRYJELSKA, Le<strong>&nbsp;<\/strong>bruissement des voix dans une bataille litt\u00e9raire. Pour et contre dans l\u2019\u00e9volution du genre romanesque au XVIIIe si\u00e8cle<strong>&nbsp;75<\/strong><\/li>\n\n\n\n<li>Joanna JAKUBOWSKA-CICHO\u0143, Du cri au silence: les voix des personnages dans&nbsp;<em>Un Barrage contre le Pacifique<\/em>&nbsp;et&nbsp;<em>L\u2019Amant<\/em>&nbsp;de Marguerite Duras&nbsp;<strong>85<\/strong><\/li>\n\n\n\n<li>Ronald JENN, Le p\u00e8lerinage des mots d\u2019enfants dans&nbsp;<em>The Adventures of Tom Sawyer<\/em>&nbsp;de Mark Twain et ses traductions fran\u00e7aises. Le cas du discours indirect mim\u00e9tique&nbsp;<strong>99<\/strong><\/li>\n\n\n\n<li>Greta KOMUR, Les formes bivocales dans la presse \u00e9crite: m\u00e9canismes d\u2019identification pour le genre journalistique&nbsp;<strong>113<\/strong><\/li>\n\n\n\n<li>Lidia LEBAS-FR\u0104CZAK, La notion de polyphonie et le subjonctif&nbsp;<strong>129<\/strong><\/li>\n\n\n\n<li>Ewelina MARCZAK, Les langues \u00e9trang\u00e8res dans les romans de Stendhal&nbsp;<strong>141<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA, Les topo\u00ef antiques et le roman \u00e9pistolaire fran\u00e7ais des XVII-XVIIIe si\u00e8cles&nbsp;<strong>161<\/strong><\/li>\n\n\n\n<li>Fran\u00e7oise SULLET-NYLANDER, Du devenir des mots mensongers dans la presse quotidienne: Le cas de \u00ab L\u2019affaire du RER D \u00bb&nbsp;<strong>173<\/strong><\/li>\n\n\n\n<li>Ull\u00e0 TUOMARL\u00c0, Sc\u00e9nographie \u00e9nonciative et parenth\u00e8ses. L\u2019exemple de&nbsp;<em>L\u2019Homme-soeur<\/em>&nbsp;de Patrick Lapeyre (2004)&nbsp;<strong>187<\/strong><\/li>\n\n\n\n<li>Bibliographie&nbsp;<strong>199<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Davide ARTICO,&nbsp;<em>Il Sergente<\/em>&nbsp;di Marco Paolini quale adattamento scenico del romanzo di Mario Rigoni Stern&nbsp;<strong>9 \u2013 20<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>IL SERGENTE<\/em>&nbsp;BY MARCO PAOLINI AS A THEATRE ADAPTATION OF A NOVEL BY MARIO RIGONI STERN<\/p>\n\n\n\n<p>This paper is an analysis of a monodrama by Paolini,&nbsp;<em>Il Sergente<\/em>, 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\u2019s interview with Rigoni Stern), we can prove that the adaptation was a synthesis of the author of the novel\u2019s original message. This synthesis is partly characterised by detaching the main character\u2019s 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 \u201ewinged words\u201d carrying a global moral message against the war and against the use of violence as a solution to conflicts.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Marco Paolini, Mario Rigoni Stern, monodrama, adaptation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>El\u017cbieta BIARDZKA, Pour une<strong>&nbsp;<\/strong>d\u00e9finition&nbsp;<em>discursive<\/em>&nbsp;du discours rapport\u00e9<strong>&nbsp;21 &#8211; 38<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>TOWARDS A<em>&nbsp;DISCURSIVE&nbsp;<\/em>DEFINITION OF REPORTED SPEECH<\/p>\n\n\n\n<p>This paper proposes and deals with an empirical \u201ediscursive\u201d definition of reported speech (DR) assuming that DR is an actual piece of text which tells, describes or just quotes someone else\u2019s words. DR relies on a designatum which is a speech act we call&nbsp;<em>enounced event<\/em>&nbsp;(EE<sub>1<\/sub>). It is real or fictive ans differs from the speech act EE<sub>2<\/sub>&nbsp;which belongs to a sequence of reported speech reporting only a certain image of EE<sub>1<\/sub>. This image can be described as a \u201etext\u201d or \u201ethink\u201d image and is never complete, being only a selection of contents from EE<sub>1<\/sub>. We could then say that enounced events are subject to a certain specific kind of telling, a&nbsp;<em>tale of speech<\/em>, which can be distinguished from the telling of other events, because apart from the segments presenting someone else\u2019s 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 \u201etext\u201d forms, and Quotations to many different ways of giving account of other people\u2019s words (\u201etextual\u201d or \u201etransformed\u201d quotations, but also \u201emixed\u201d ones). DR can be figured then as an equation: DR<sup>C<\/sup>&nbsp;= Did + Cit and the text segments it combines give a large number of speech use variants.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: reported speech, free indirect speech, media-related speech<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Anna BOCHNAKOWA, Titres en vadrouille&nbsp;<strong>39 &#8211; 50<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>WANDERING HEADLINES<\/p>\n\n\n\n<p>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\u2019s stylistic operations and, on the other hand, as a manifestation of knowledge and permanence of the literary and common culture.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: intertextuality, headline, cultural references<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jadwiga COOK, Le portrait du personnage par ses paroles: les h\u00e9ros du roman d\u2019Anna Gavalda&nbsp;<em>Ensemble, c\u2019est tout<\/em>&nbsp;en fran\u00e7ais et en polonais&nbsp;<strong>51 &#8211; 62<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>SPEECH PORTRAIT OF THE CHARACTERS: THE CHARACTERS OF ANNA GAVALDA\u2019S&nbsp;<em>ENSEMBLE, C\u2019EST TOUT<\/em>&nbsp;IN FRENCH AND POLISH<\/p>\n\n\n\n<p>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\u2019s speech is extremely important in literary translation. This paper tries to answer the questions how the portraits of the main characters from the novel&nbsp;<em>Ensemble, c\u2019est tout<\/em>&nbsp;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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: characters\u2019 speech, novel dialogue, colloquial French in translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Anna DUTKA-MA\u0143KOWSKA, La circulation du discours: le dit d\u2019origine \u00e9nonciative ind\u00e9termin\u00e9e en fran\u00e7ais et en polonais&nbsp;<strong>63 &#8211; 73<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>CIRCULATION OF THE SPEECH: SPEECH OF UNSPECIFIED ENUNCIATION IN FRENCH AND IN POLISH<\/p>\n\n\n\n<p>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\u2019s conception of \u201ediscourse circulation\u201d (<em>circulation du discours<\/em>), the phenomenon of anonymous, unkind or untrue remarks pronounced behind one\u2019s back was analysed: the social use of&nbsp;<em>potin<\/em>&nbsp;(gossip) vs. the one of&nbsp;<em>plotka<\/em>&nbsp;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).<\/p>\n\n\n\n<p><strong>Key words<\/strong>: discourse circulation, r\u00e9\u00e9nonciation, potin\/plotka (gossip), speech of undetermined assertive origin<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Krystyna GABRYJELSKA, Le<strong>&nbsp;<\/strong>bruissement des voix dans une bataille litt\u00e9raire. Pour et contre dans l\u2019\u00e9volution du genre romanesque au XVIIIe si\u00e8cle<strong>&nbsp;75 &#8211; 84<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>RUMOUR OF VOICES IN A LITERARY DISPUTE. THE PROS AND CONS IN THE EVOLUTION OF THE NOVEL GENRE IN THE 18<sup>th<\/sup>&nbsp;CENTURY<\/p>\n\n\n\n<p>The position of the novel as a genre was not easy in the 18<sup>th<\/sup>&nbsp;century. Yet in the 17<sup>th<\/sup>&nbsp;century, but mostly in the 18<sup>th<\/sup>, new genres appeared and \u2013 what is more important \u2013 changes could have been observed in the approach to the existing ones.<\/p>\n\n\n\n<p>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\u2019 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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key wor<\/strong><strong>ds<\/strong>: novel genre, criticism, morality, aesthetics, dispute, strategy<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Joanna JAKUBOWSKA-CICHO\u0143, Du cri au silence: les voix des personnages dans&nbsp;<em>Un Barrage contre le Pacifique<\/em>&nbsp;et&nbsp;<em>L\u2019Amant<\/em>&nbsp;de Marguerite Duras&nbsp;<strong>85 &#8211; 97<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FROM SCREAM TO SILENCE: CHARACTERS\u2019 VOICES IN&nbsp;<em>UN BARRAGE CONTRE LE PACIFIQUE<\/em>&nbsp;AND&nbsp;<em>L\u2019AMANT<\/em>&nbsp;BY MARGUERITE DURAS<\/p>\n\n\n\n<p>Un&nbsp;<em>Barrage contre le Pacifique<\/em>&nbsp;and&nbsp;<em>L\u2019Amant<\/em>&nbsp;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 \u201eparaverbal didascalia\u201d the segments describing the prosodic features of the characters\u2019 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&nbsp;<em>Un Barrage contre le Pacifique<\/em>, paraverbal didascalia should be considered above all as a structural means building the world presented in the novel. In&nbsp;<em>L\u2019Amant<\/em>, 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\u2019s theme.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: scream, language behaviour, paraverbal narrative directions, reported speech, silence, whisper<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ronald JENN, Le p\u00e8lerinage des mots d\u2019enfants dans&nbsp;<em>The Adventures of Tom Sawyer<\/em>&nbsp;de Mark Twain et ses traductions fran\u00e7aises. Le cas du discours indirect mim\u00e9tique&nbsp;<strong>99 &#8211; 111<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>PILGRIMAGE OF CHILDREN WORDS IN&nbsp;<em>THE ADVENTURES OF TOM SAWYER<\/em>&nbsp;BY MARK TWAIN AND ITS FRENCH TRANSLATIONS. THE CASE OF MIMETIC INDIRECT DISCOURSE<\/p>\n\n\n\n<p>This article studies the Mimetic Indirect Discourse in Mark Twain\u2019s novel&nbsp;<em>The Adventures of Tom Sawyer<\/em>&nbsp;(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\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: translation, Mimetic Indirect Discourse, sociolect,&nbsp;<em>The Adventures of Tom Sawyer<\/em>, Mark Twain<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Greta KOMUR, Les formes bivocales dans la presse \u00e9crite: m\u00e9canismes d\u2019identification pour le genre journalistique&nbsp;<strong>113 &#8211; 128<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>BIVOCAL FORMS IN THE FRENCH PRESS: MECHANISMS OF IDENTIFICATION<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: reported speech, free indirect speech, bivocality, media-related speech, journalistic language<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Lidia LEBAS-FR\u0104CZAK, La notion de polyphonie et le subjonctif&nbsp;<strong>129 &#8211; 140<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE NOTION OF POLYPHONY AND THE SUBJUNCTIVE<\/p>\n\n\n\n<p>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 (<em>en langue<\/em>) or only in actual given uses (<em>en discours<\/em>) 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 \u201epotential\u201d to build a meaning through their participation into interactions with other linguistic forms and communication factors.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: polyphony, dialogics, subjunctive<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ewelina MARCZAK, Les langues \u00e9trang\u00e8res dans les romans de Stendhal&nbsp;<strong>141 &#8211; 160<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>FOREIGN LANGUAGES IN STENDHAL\u2019S NOVELS<\/p>\n\n\n\n<p>This paper treats of the foreign language sequences appearing in the narrator\u2019s speech as well as the characters\u2019 speech in the novels&nbsp;<em>Armance, La Chartreuse de Parme, Lamiel, Lucien Leuwen<\/em>&nbsp;and&nbsp;<em>Le Rouge et Le Noir<\/em>&nbsp;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\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: foreign language sequences in a novel, imported speech, narrative didascalia, narrator\u2019s comment, translation didascalia, character\u2019s words, translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja PAW\u0141OWSKA, Les topo\u00ef antiques et le roman \u00e9pistolaire fran\u00e7ais des XVII-XVIIIe si\u00e8cles&nbsp;<strong>161 &#8211; 171<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ANTIQUE&nbsp;<em>TOPOI<\/em>&nbsp;AND THE FRENCH EPISTOLARY NOVEL IN THE 17<sup>th<\/sup>&nbsp;AND 18<sup>th<\/sup>&nbsp;CENTURIES<\/p>\n\n\n\n<p><em>Topos<\/em>&nbsp;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,&nbsp;<em>topoi<\/em>&nbsp;were conventionalised rhetoric tricks. For Artistotle, they were logical schemes useful in the art of argumentation. Ancient&nbsp;<em>topoi<\/em>&nbsp;also existed in poetry as narrative scheme and motives characteristic for a given genre. Ancient Greek romance was a genre of expressive&nbsp;<em>topoi<\/em>. In the modern times, the 17<sup>th<\/sup>&nbsp;and 18<sup>th<\/sup>&nbsp;century French epistolary novel adopted most of its&nbsp;<em>topoi<\/em>. The conviction about the originality of epistolary novel in those times was based on the belief that literary&nbsp;<em>topos<\/em>&nbsp;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&nbsp;<em>topoi<\/em>&nbsp;of its predecessors and becomes itself a potential source of&nbsp;<em>topoi<\/em>&nbsp;for the next generations of authors.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Topos theory, French 17<sup>th<\/sup>&nbsp;and 18<sup>th<\/sup>&nbsp;century epistolary novel, Guilleragues, Cr\u00e9billon fils, Mme de Graffigny<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Fran\u00e7oise SULLET-NYLANDER, Du devenir des mots mensongers dans la presse quotidienne: Le cas de \u00ab L\u2019affaire du RER D \u00bb&nbsp;<strong>173 &#8211; 186<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE DESTINY OF A LIER\u2019S WORDS IN THE DAILY NEWSPAPERS: THE CASE OF \u00ab RER D AFFAIR \u00bb<\/p>\n\n\n\n<p>The present study is based on a French press release of the AFP (\u201eAgence France Presse\u201d) and articles published between the 11<sup>th<\/sup>&nbsp;and 13<sup>th<\/sup>&nbsp;of July 2004 in French-speaking daily newspapers (<em>La Croix, Le Figaro, Le Monde, Le Parisien<\/em>&nbsp;and&nbsp;<em>Lib\u00e9ration<\/em>) covering a news item summarised as follow by&nbsp;<em>Lib\u00e9ration<\/em>, Monday, July 12<sup>th<\/sup>: \u201eAs 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.\u201d Two days later, the media reported that there had been no assault. The young woman, Marie L., fabricated the entire story (<em>Le Figaro<\/em>, Wednesday, July 14<sup>th<\/sup>).<\/p>\n\n\n\n<p>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\u2019s and her pseudo-attackers\u2019 words. The use of reported speech (direct and indirect) is compared to the use of \u201epress conditional\u201d or \u201eepistemic conditional\u201d to explore the degree of confidence with which journalists convey the news item.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: reported speech, enunciative heterogeneity, journalistic conditional mode, false information<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ull\u00e0 TUOMARL\u00c0, Sc\u00e9nographie \u00e9nonciative et parenth\u00e8ses. L\u2019exemple de&nbsp;<em>L\u2019Homme-soeur<\/em>&nbsp;de Patrick Lapeyre (2004)&nbsp;<strong>187 &#8211; 197<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>ENUNCIATIVE SCENOGRAPHY AND PARENTHESES. THE EXAMPLE OF&nbsp;<em>L\u2019HOMME-SOEUR<\/em>&nbsp;BY PATRICK LAPEYRE (2004)<\/p>\n\n\n\n<p>In this paper, I try to analyse enunciative heterogeneity which is created by the contact between parenthetic enunciation and frame enunciation (<em>\u00e9nonc\u00e9-cadre<\/em>), and especially the role of parentheses in the enunciative scenography of a contemporary novel. Do the parentheses allow to separate the character\u2019s sphere from the narrator\u2019s 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&nbsp;<em>L\u2019Homme-soeur<\/em>, I believe that this novel contains many scenes where the linguistic reference is to be found not in the external focalising narrator\u2019s perception, but in the main character\u2019s, 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: parenthesis, point of view, focalisation, emphatic narration<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-8ade57e ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-8ade57e .ugb-accordion__title{line-height:1em !important}.ugb-8ade57e .ugb-accordion__arrow{fill:#ffffff}.ugb-8ade57e .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-8ade57e.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LVII (2010) &#8211; &#8220;Les choses, les notions, les noms : le terme dans tous ses \u00e9tats&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/221\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Les&nbsp;choses, les notions, les noms&nbsp;: le terme dans tous ses&nbsp;\u00e9tats<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 Stefan Kaufman<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2010<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 3228)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduction (Stefan Kaufman)&nbsp;<strong>7<\/strong><\/li>\n\n\n\n<li>Katarzyna BIERNACKA-LICZNAR, Le trappole tese al traduttore polacco durante la traduzione di testi giuridici italiani e polacchi&nbsp;<strong>13<\/strong><\/li>\n\n\n\n<li>Marc VAN CAMPENHOUDT, Le terme: condensation syntaxique et condensation des connaissances en langue sp\u00e9cialis\u00e9e<strong>&nbsp;29<\/strong><\/li>\n\n\n\n<li>Kaja GOSTKOWSKA, Le transfert des termes entre les disciplines scientifiques: sur l\u2019exemple du g\u00e9nie biom\u00e9dical&nbsp;<strong>47<\/strong><\/li>\n\n\n\n<li>Natalia PAPROCKA, La litt\u00e9rature pour jeunes lecteurs: probl\u00e8mes terminologiques li\u00e9s au nom du domaine en polonais et en fran\u00e7ais&nbsp;<strong>59<\/strong><\/li>\n\n\n\n<li>Maja PAW\u0141OWSKA,&nbsp;<em>Histoire, fable, fiction<\/em>: les d\u00e9signations du roman au XVIIe si\u00e8cle dans l\u2019oeuvre de Jean-Pierre Camus&nbsp;<strong>83<\/strong><\/li>\n\n\n\n<li>Katarzyna PLUTA, Le terme scientifique et le discours de vulgarisation<strong>&nbsp;93<\/strong><\/li>\n\n\n\n<li>Regina SOLOV\u00c1, Traduire les termes du domaine de l\u2019\u00e9ducation. Sur l\u2019exemple du dipl\u00f4me de baccalaur\u00e9at&nbsp;<strong>107<\/strong><\/li>\n\n\n\n<li>Witold UCHEREK, Les marques d\u2019usage dans les dictionnaires bilingues fran\u00e7ais-polonais et polonais-fran\u00e7ais&nbsp;<strong>119<\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>Streszczenia<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna BIERNACKA-LICZNAR, Le trappole tese al traduttore polacco durante la traduzione di testi giuridici italiani e polacchi&nbsp;<strong>13 &#8211; 27<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>PITFALLS AWAITING POLISH TRANSLATORS OF ITALIAN AND POLISH LEGAL TEXTS<\/p>\n\n\n\n<p>According to the 1948 definition by the criminal law professor Bronis\u0142aw Wr\u00f3blewski, 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.<\/p>\n\n\n\n<p>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\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: legal language, criminal proceedings, accused, Carofiglio<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Marc VAN CAMPENHOUDT, Le terme: condensation syntaxique et condensation des connaissances en langue sp\u00e9cialis\u00e9e<strong>&nbsp;29 &#8211; 46<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>THE TERM: SYNTACTIC CONDENSATION AND KNOWLEDGE CONDENSATION IN SPECIALISED LANGUAGE<\/p>\n\n\n\n<p>Kocourek observes that the concern for conciseness \u201econstitutes a strong factor in the building of technoscientific sentences.\u201d The purpose does not seem to produce short sentences but to add semantic charge to sentences without unnecessarily making them longer. He speaks of \u201esyntactic condensation\u201d leading to a \u201econcise complexity\u201d 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: term, syntactic condensation, syntagm, cognition<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Kaja GOSTKOWSKA, Le transfert des termes entre les disciplines scientifiques: sur l\u2019exemple du g\u00e9nie biom\u00e9dical&nbsp;<strong>47 &#8211; 58<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>TRANSFER OF TERMS AMONG CONTEMPORARY SCIENTIFIC DISCIPLINES \u2013 AS SEEN IN BIOMEDICAL ENGINEERING<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: biomechanics, terms, borrowings, point of view<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Natalia PAPROCKA, La litt\u00e9rature pour jeunes lecteurs: probl\u00e8mes terminologiques li\u00e9s au nom du domaine en polonais et en fran\u00e7ais&nbsp;<strong>59 &#8211; 81<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>\u201eLITERATURE FOR YOUNG READERS\u201d: A TERMINOLOGICAL PROBLEM WITH THE NAME OF THIS TYPE OF LITERATURE IN POLISH AND FRENCH<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: generic terms, children\u2019s literature, Polish and French terminology<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Maja PAW\u0141OWSKA,&nbsp;<em>Histoire, fable, fiction<\/em>: les d\u00e9signations du roman au XVIIe si\u00e8cle dans l\u2019oeuvre de Jean-Pierre Camus&nbsp;<strong>83 &#8211; 91<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p><em>HISTOIRE, FABLE, FICTION<\/em>: DESCRIPTIONS OF THE NOVEL IN A 17th CENTURY WORK BY JEAN-PIERRE CAMUS<\/p>\n\n\n\n<p>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&nbsp;<em>pious romances<\/em>&nbsp;that were to counterbalance the dangerous romances. All his novels include an in-depth author\u2019s 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&nbsp;<em>roman<\/em>&nbsp;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&nbsp;<em>narr\u00e9<\/em>&nbsp;or&nbsp;<em>histoire<\/em>&nbsp;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&nbsp;<em>pious romances<\/em>&nbsp;belong to the novel genre is to ennoble them.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: French theory and criticism, Jean-Pierre Camus, 17th century French novel<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Katarzyna PLUTA, Le terme scientifique et le discours de vulgarisation<strong>&nbsp;93 &#8211; 106<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>SCIENTIFIC TERMS AND POPULAR SCIENCE DISCOURSE<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: popular science discourse, terminographic definition, lexicographic definition<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Regina SOLOV\u00c1, Traduire les termes du domaine de l\u2019\u00e9ducation. Sur l\u2019exemple du dipl\u00f4me de baccalaur\u00e9at&nbsp;<strong>107 &#8211; 118<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>TRANSLATION OF EDUCATION-RELATED TERMS. AS SEEN IN TRANSLATIONS OF CERTIFICATES OF SECONDARY EDUCATION<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: terms, translation, certificate of secondary education<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Witold UCHEREK, Les marques d\u2019usage dans les dictionnaires bilingues fran\u00e7ais-polonais et polonais-fran\u00e7ais&nbsp;<strong>119 &#8211; 134<\/strong><\/li>\n<\/ul>\n\n\n\n<p>Summary<\/p>\n\n\n\n<p>LABELS IN BILINGUAL FRENCH-POLISH AND POLISH-FRENCH DICTIONARIES<\/p>\n\n\n\n<p>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 \u2013 with the French practice. Finally both lists \u2013 Polish and French \u2013 are compared in terms of equivalence.<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: label, Polish-French dictionary, French-Polish dictionary, bilingual lexicography<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-0294818 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-0294818 .ugb-accordion__title{line-height:1em !important}.ugb-0294818 .ugb-accordion__arrow{fill:#ffffff}.ugb-0294818 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-0294818.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LVIII (2011) &#8211; &#8220;Exclusion\/Inclusion au f\u00e9minin&#8221; <\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/220\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Exclusion\/Inclusion au f\u00e9minin<\/em><\/p>\n\n\n\n<p>Volume d\u00e9di\u00e9 \u00e0 Madame Krystyna Gabryjelska \u00e0 l\u2019occasion de ses 70 ans<\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 Maja Paw\u0142owska<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2011<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 3282)<\/p>\n\n\n\n<p>Spis tre\u015bci i streszczenia artyku\u0142\u00f3w&nbsp;<\/p>\n\n\n\n<p><strong>Avant-propos (Maja PAW\u0141OWSKA),&nbsp;9<\/strong><\/p>\n\n\n\n<p><strong>Beata BACZY\u0143SKA, En torno a la actualidad pol\u00edtica en el auto sacramental calderoniano: la reina Cristina de Suecia lee a San Agust\u00edn en&nbsp;<em>La protestaci\u00f3n de la fe<\/em>&nbsp;de Pedro Calder\u00f3n de la Barca,&nbsp;13 &#8211; 23<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>ON THE PRESENCE OF CURRENT POLITICS IN THE CALDERONIAN AUTO SACRAMENTAL: CHRISTINA, QUEEN OF SWEDEN, READS SAINT AUGUSTINE IN&nbsp;<em>LA PROTESTACI\u00d3N DE LA FE<\/em>&nbsp;BY PEDRO CALDER\u00d3N DE LA BARCA<\/p>\n\n\n\n<p>In 1656, a few days before the feast of Corpus Christi, Philip IV ordered the cancellation of a performance of Calder\u00f3n\u2019s auto sacramental&nbsp;<em>La protestaci\u00f3n de la fe,<\/em>&nbsp;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, Jer\u00f3nimo de Barrionuevo, the author of&nbsp;<em>Avisos<\/em>&nbsp;(<em>Reports<\/em>) 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 \u201cauto about the Queen of Sweden\u201d 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\u2019s mediation in the choice of the auto subject and it seems that Calder\u00f3n 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\u2019s late work. Reality mingles with stage fiction. Calder\u00f3n 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: baroque drama, Calder\u00f3n, auto sacramental,&nbsp;<em>La protestaci\u00f3n de la fe<\/em>, Christina of Sweden<\/p>\n\n\n\n<p><strong>El\u017cbieta BIARDZKA, Remarques sur les portraits de femmes esquiss\u00e9s par les journalistes du&nbsp;<em>Monde<\/em>&nbsp;ou&nbsp;<em>V\u00e9nus au miroir<\/em>&nbsp;r\u00e9visit\u00e9e,&nbsp;25 &#8211; 32<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>SOME REMARKS ON THE PORTRAITS OF WOMEN IN THE FRENCH DAILY&nbsp;<em>LE MONDE<\/em>&nbsp;OR&nbsp;<em>VENUS IN FRONT OF THE MIRROR<\/em>&nbsp;REVISITED<\/p>\n\n\n\n<p>The article discusses the portraits of women-authors of quoted statements drawn by journalists of the French daily&nbsp;<em>Le Monde<\/em>. 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\u2019s 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&nbsp;<em>Le Monde<\/em>. 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: author of the statement (speaker), quotes, press reporter, speaker\u2019s portraits, quoted speaker, reported speech, prosopography, reporter\u2019s comment, character\u2019s words, voice portrait<\/p>\n\n\n\n<p><strong>Carmen DEPASQUALE, La femme dans une \u00ablitt\u00e9rature fran\u00e7aise de Malte\u00bb du XVIIIe si\u00e8cle,&nbsp;33 &#8211; 42<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>DEPICTION OF THE FEMALE IN A \u201cFRENCH LITERATURE OF MALTA\u201d OF THE EIGHTEENTH CENTURY<\/p>\n\n\n\n<p>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 \u201can eighteenth century French literature of Malta\u201d 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 \u2013 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&nbsp;<em>femme fatale<\/em>&nbsp;and portrays the Knight of Malta as both prey and victim. The intellectual woman, whether writer or reader, is totally absent.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Order of Malta, Knights, eighteenth century, women, travellers<\/p>\n\n\n\n<p><strong>Helena DUFFY, Les putes et les soumises: la dualit\u00e9 de l\u2019image de la femme dans l\u2019\u0153uvre d\u2019Andre\u00ef Makine,&nbsp;43 &#8211; 57<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>LES PUTES ET LES SOUMISES: DUALITY OF THE IMAGE OF THE WOMAN IN THE WORK OF ANDRE\u00cf MAKINE<\/p>\n\n\n\n<p>The present article addresses the duality of female protagonists created by Andre\u00ef Makine, a contemporary Russian-born, French-language author. Focusing on the writer\u2019s four early novels and using psychoanalysis and sociology as analytical tools, I place the whores and the saintly mothers populating Makine\u2019s works in the Russian cultural context, at the same time arguing that such polarized and unavoidably stereotypical representation of women stems from the author\u2019s desire to accommodate his work to his prospective reader\u2019s 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&nbsp;<em>heimlich<\/em>&nbsp;and the&nbsp;<em>unheimlich<\/em>, reflects the problematic identity of Makine\u2019s male protagonists who ceaselessly hesitate between loyalty to Mother Russia and admiration for the West. Thus, the woman\u2019s wavering between a homely and an uncanny figure undoubtedly mirrors Russia\u2019s perennial struggle for self-definition as illustrated by the conflict between Westernishers and Slavophiles, recently revived as that between the advocates of Russia\u2019s opening to the West and the Eurasianists who are nostalgic for their country\u2019s isolation imposed by Communism.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Andre\u00ef Makine, Russia, woman, prostitute, duality, Virgin Mary, the uncanny, Medusa\u2019s head<\/p>\n\n\n\n<p><strong>Justyna \u0141UKASZEWICZ, Marianna Maliszewska, traductrice du<em>&nbsp;Congr\u00e8s de Cyth\u00e8re,&nbsp;<\/em>f\u00e9ministe avant la lettre,&nbsp;59 &#8211; 70<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>THE POLISH TRANSLATION OF&nbsp;<em>THE CONGRESS OF CYTHERA<\/em>&nbsp;AND ITS FEMINIST ACCENTS<\/p>\n\n\n\n<p>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\u2019s comedy&nbsp;<em>L\u2019amante militare<\/em>, she displayed a sound knowledge of the&nbsp;<em>dell\u2019arte<\/em>&nbsp;tradition, and when translating Francesco Algarotti\u2019s romance&nbsp;<em>The congress of Cythera<\/em>, 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 \u2013 as in the case of the earlier translation of the comedy \u2013 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: translation, 18<sup>th<\/sup>&nbsp;century, Marianna Maliszewska, Francesco Algarotti, Italian-Polish cultural border zone, translation paratexts<\/p>\n\n\n\n<p><strong>Pawe\u0142 MATYASZEWSKI, Montesquieu, sa femme et ses filles,&nbsp;71 &#8211; 81<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>MONTESQUIEU, HIS WIFE AND DAUGHTERS<\/p>\n\n\n\n<p>In this biographical article, the author presents the history of Montesquieu\u2019s 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&nbsp;<em>The spirit of the laws<\/em>. 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Montesquieu, family, wife, daughters<\/p>\n\n\n\n<p><strong>Krystyna MODRZEJEWSKA, Marguerite Yourcenar, l\u2019extravagance reconnue,&nbsp;83 &#8211; 93<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>MARGUERITE YOURCENAR, EXTRAVAGANCE RECOGNISED<\/p>\n\n\n\n<p>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 Pl\u00e9iade 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Yourcenar, the French Academy, the greatness of man, power, religion, service, distance<\/p>\n\n\n\n<p><strong>Maja PAW\u0141OWSKA, Mlle de Scud\u00e9ry: portrait de Sapho ou inclusion par l\u2019exclusion,&nbsp;95 &#8211; 104<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>PORTRAIT OF SAPPHO BY MADEMOISELLE DE SCUD\u00c9RY OR INCLUSION THROUGH EXCLUSION<\/p>\n\n\n\n<p>In the 17<sup>th<\/sup>&nbsp;century, Mademoiselle de Scud\u00e9ry, 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\u2019s name and thus observing the rule concerning female propriety. Portraying herself as Sappho in the novel&nbsp;<em>Artam\u00e8ne ou le Grand Cyrus<\/em>, Mademoiselle de Scud\u00e9ry 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 Scud\u00e9ry\u2019s attitude was greatly appreciated by 17<sup>th<\/sup>&nbsp;century critics and readers.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: Mlle de Scud\u00e9ry,&nbsp;<em>Artam\u00e8ne ou le Grand Cyrus<\/em>, 17th century French novel, Sappho\u2019s portrait, women intellectuals<\/p>\n\n\n\n<p><strong>Aline VIVIAND, Les enjeux des st\u00e9r\u00e9otypes de l\u2019apparence physique de la femme fran\u00e7aise, polonaise et allemande en contexte de rencontre interculturelle de jeunes. Une \u00e9tude comparative,&nbsp;105 &#8211; 118<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>THE STEREOTYPES ISSUE OF THE FRENCH, POLISH AND GERMAN WOMAN\u2019S PHYSICAL APPEARANCE IN THE CONTEXT OF YOUTH INTERCULTURAL MEETING. A COMPARATIVE STUDY<\/p>\n\n\n\n<p>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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: stereotype, physical appearance, intercultural, youth<\/p>\n\n\n\n<p><strong>Jacques WAGNER, Les h\u00e9ro\u00efnes litt\u00e9raires sous l\u2019Ancien R\u00e9gime, entre femme vraie de la nature et vraie nature de la femme,&nbsp;119 &#8211; 132<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>FEMALE HEROES IN ANCIEN REGIME LITERATURE&nbsp;: BETWEEN WOMEN TRUE BY NATURE AND THE TRUE NATURE OF WOMEN<\/p>\n\n\n\n<p>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 17<sup>th<\/sup>&nbsp;and 18<sup>th<\/sup>&nbsp;Century literature in France. The image of female condition in works of the end of 17<sup>th<\/sup>&nbsp;Century and the end of 18<sup>th<\/sup>&nbsp;Century is analysed in both theatre (as a \u201cpublic\u201d genre written for a collective reception) and novel (as an \u201cintimate\u201d genre written for individual reading). We can see a social exclusion of women in the 17<sup>th<\/sup>&nbsp;Century, when they were considered as passionate beings forced to be tarned for the sake of their social duty. In the 18<sup>th<\/sup>&nbsp;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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: 17<sup>th<\/sup>&nbsp;and 18<sup>th<\/sup>&nbsp;theatre and novel, woman condition, woman social exclusion and inclusion<\/p>\n\n\n\n<p><strong>Tomasz WYS\u0141OBOCKI, \u00d4ter la raison aux femmes: question d\u2019ordre public,&nbsp;133 &#8211; 143<\/strong><\/p>\n\n\n\n<p>Summary:<em><\/em><\/p>\n\n\n\n<p>TO DEPRIVE WOMEN OF REASON \u2013 A QUESTION OF SOCIAL NATURE<\/p>\n\n\n\n<p>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 \u2013 people were all free and equal in the eyes of the law. However, the \u201cDeclaration of the Rights of Man and of the Citizen\u201d, which did not mention women, allowed politicians and thinkers of the time to gradually exclude women from public life \u2013 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\u2019s 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.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: revolution, women, emancipation, political rights, civil rights, education, family<\/p>\n\n\n\n<p><strong>Izabella ZATORSKA, \u00c9clipse au f\u00e9minin? Lettre cit\u00e9e dans les romans de Pr\u00e9vost,&nbsp;145 &#8211; 156<\/strong><\/p>\n\n\n\n<p>Summary:<\/p>\n\n\n\n<p>LETTERS QUOTED IN PR\u00c9VOST\u2019S NOVELS<\/p>\n\n\n\n<p>What is the status of letters quoted in Abb\u00e9 Pr\u00e9vost\u2019s 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\u2019s creative activity \u2013&nbsp;<em>M\u00e9moires et aventures d\u2019un Homme de qualit\u00e9 qui s\u2019est retire du monde<\/em>&nbsp;(1728),&nbsp;<em>Histoire du Chevalier des Grieux et de Manon Lescaut<\/em>&nbsp;(1731) \u2013 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 \u201ceveryday eschatology\u201d. 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 \u2013 be it one dealing with family matters or politics \u2013 plays a crucial role, obscuring the original heroism, even in the ambiguous case of Manon\u2019s \u201csacrifice\u201d, which terrifies Des Grieux so much.<\/p>\n\n\n\n<p><strong>Key words<\/strong>: epistolography, novel in letters, letter in the narrative, Pr\u00e9vost, the Orient, eschatology<\/p>\n\n\n\n<p>Comptes-rendus de lecture&nbsp;<\/p>\n\n\n\n<p><strong>Agata Sylwestrzak-Wszelaki,&nbsp;<em>Andre\u00ef Makine.&nbsp;<\/em><em>L\u2019Identit\u00e9 probl\u00e9matique<\/em>, L\u2019Harmattan, Paris 2010 (Helena DUFFY),&nbsp;157<\/strong><\/p>\n\n\n\n<p><strong>Aleksandra Walkiewicz,&nbsp;<em>Francuskie formy&nbsp;<\/em>subjonctif<em>&nbsp;i&nbsp;<\/em>indicatif<em>&nbsp;oraz ich polskie ekwiwalenty. Studium kontrastywne u\u017cy\u0107 w zdaniach z\u0142o\u017conych<\/em>, Wydawnictwo Naukowe UMK, Toru\u0144 2010 (Lidia LEBAS-FR\u0104CZAK),&nbsp;160<\/strong><\/p>\n\n\n\n<p><strong>Maximilien Wiklinsky,&nbsp;<em>Voyages. Podr\u00f3\u017ce<\/em>, traduit et \u00e9dit\u00e9 par Izabella Zatorska, Leksem, \u0141ask 2008 (Berenika PALUS),&nbsp;164<\/strong><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-204399b ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-204399b .ugb-accordion__title{line-height:1em !important}.ugb-204399b .ugb-accordion__arrow{fill:#ffffff}.ugb-204399b .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-204399b.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LIX (2012) &#8211; &#8220;Figure(s) du traducteur&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/224\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Figure(s) du traducteur<\/em><\/p>\n\n\n\n<p>R\u00e9dacteur du volume \u2013 El\u017cbieta Skibi\u0144ska<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2012<\/p>\n\n\n\n<p>(Acta Universitatis Wratislaviensis Nr 3389)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p><strong>I. TRADUCTEUR (AU) FIGUR\u00c9&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Yves Gambier<\/strong>, \u00ab&nbsp;Le traducteur d\u00e9figur\u00e9?&nbsp;\u00bb, 13<\/p>\n\n\n\n<p>Representations of translators and interpreters in fiction often copy clich\u00e9s on both professions.<br><br>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.<\/p>\n\n\n\n<p><strong>Micha\u00ebl Mariaule<\/strong>, \u00ab&nbsp;La traduction en images et l\u2019image du traducteur \u00e0 travers&nbsp;les \u00e2ges&nbsp;\u00bb, 25<\/p>\n\n\n\n<p>This article analyses the past figure of the translator through metaphorical representations of<br><br>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.<\/p>\n\n\n\n<p><strong>Joanna Jakubowska-Cicho\u0144<\/strong>, \u00ab&nbsp;Configuration traducteur \u2013 auteur&nbsp;: jeu sur deux&nbsp;lignes. Sur la&nbsp;<em>Vengeance du traducteur<\/em>&nbsp;de Brice Matthieussent&nbsp;\u00bb, 41<\/p>\n\n\n\n<p>The main subject of Brice Matthieussent\u2019s novel Vengeance du traducteur [The Translator\u2019s<br><br>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 \u2014 symbolic translator\u2019s area \u2014 is perceived negatively, while the top, \u201cbelonging\u201d 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 \u201cspatial,\u201d 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).<\/p>\n\n\n\n<p><strong>Monika Grabowska<\/strong>,&nbsp; \u00ab&nbsp;Le traducteur vu par son auteur&nbsp;\u00bb, 51<\/p>\n\n\n\n<p>The article is an attempt to answer the question of how the writer sees the work and role of&nbsp;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, Przemys\u0142aw Wojcieszek, Ma\u0142gorzata 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\u2019s 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.<\/p>\n\n\n\n<p><strong>Jadwiga Cook<\/strong>,&nbsp; \u00ab&nbsp;Figure de r\u00eave ou comment les \u00e9tudiants se figurent le&nbsp;traducteur&nbsp;\u00bb, 65<\/p>\n\n\n\n<p>In this article we try to answer the question how students of Romance languages and literature<br><br>see the translator\u2019s 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\u2019 knowledge and professional experience expand.<\/p>\n\n\n\n<p><strong>Agata R\u0119bkowska<\/strong>, \u00ab&nbsp;Traducteur polonais de dessins anim\u00e9s: une figure&nbsp;importante?&nbsp;\u00bb, 77<\/p>\n\n\n\n<p>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 Wroc\u0142aw cinemas as well as press articles and internet fora devoted to translations.<\/p>\n\n\n\n<p><strong>II. FIGURES (RE)CONSTRUITES<\/strong><\/p>\n\n\n\n<p><strong>Magda Heydel<\/strong>, \u00ab&nbsp;La figure du traducteur dans les recherches traductologiques.&nbsp;Exploration&nbsp;\u00bb, 91<\/p>\n\n\n\n<p>In the analytical models proposed by the Translation Studies after the Cultural Turn of the&nbsp;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&nbsp;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 \u201cinfidelity\u201d 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&nbsp;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.<\/p>\n\n\n\n<p><strong>Ma\u0142gorzata Gaszy\u0144ska-Magiera<\/strong>, \u00ab&nbsp;De la (non)visibilit\u00e9 des traducteurs polonais de la&nbsp;litt\u00e9rature latino-am\u00e9ricaine \u00e0 l\u2019\u00e9poque du boom polonais&nbsp;\u00bb, 107<\/p>\n\n\n\n<p>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\u2019 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\u2019s expression, we could wonder whether Polish translators of Ibero-American literature remained invisible.<br><br>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 \u2014 i.e. Pa\u0144stwowy Instytut Wydawniczy and Czytelnik as well as Wydawnictwo Literackie from Krak\u00f3w \u2014 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 \u2014 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<br><br>by the readers. What factors, therefore, played a decisive role in some of them remaining in the collective memory while others disappeared from it?<\/p>\n\n\n\n<p><strong>Maria Papadima<\/strong>, \u00ab&nbsp;Le retraducteur&nbsp;: un traducteur pas comme les autres&nbsp;\u00bb, 121<\/p>\n\n\n\n<p>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 \u201cnew translation of a text in one or more than one languages\u201d. 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\u2019s 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\u2019 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.<\/p>\n\n\n\n<p><strong>Marzena Chrobak<\/strong>, \u00ab&nbsp;<em>Truchements de Normandie<\/em>&nbsp;\u2013 essai de la reconstruction d\u2019une&nbsp;figure&nbsp;\u00bb, 131<\/p>\n\n\n\n<p>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\u2019s Rio de Janeiro: the head of the colony, Nicolas Durand de Villegagnon, his lieutenant Nicolas Barr\u00e9, the royal cosmographer Andr\u00e9 Thevet and a Protestant settler, Jean de L\u00e9ry. This modest corpus is complemented by non-French accounts: by a Portugese Jesuit, Jos\u00e9 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 \u2014 competent, effective, acculturated, entangled in the defence of interests of various parties.<\/p>\n\n\n\n<p><strong>Ma\u0142gorzata Tryuk<\/strong>, \u00ab&nbsp;Figure(s) de l\u2019interpr\u00e8te\/r\u00f4le(s) de l\u2019interpr\u00e8te&nbsp;\u00bb, 143<\/p>\n\n\n\n<p>The aim of the article is to present selected aspects of the work of court interpreters appointed&nbsp;by the National Supreme Tribunal, which between 1946 and 1948 tried Nazi criminals in Poland.&nbsp;The interpreters\u2019 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.<\/p>\n\n\n\n<p><strong>Natalia Paprocka<\/strong>, \u00ab&nbsp;Traducteurs polonais de la litt\u00e9rature de jeunesse fran\u00e7aise : pour&nbsp;un portrait collectif&nbsp;\u00bb, 155<\/p>\n\n\n\n<p>The aim of the article is to examine the figures of Polish translators of French literature for&nbsp;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 \u201clive\u201d? 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?<\/p>\n\n\n\n<p><strong>Agn\u00e8s Whitfield<\/strong>, \u00ab&nbsp;M\u00e9thode et pratique du portrait : sur les traces des traducteurs&nbsp;\u00bb, 175<\/p>\n\n\n\n<p>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\u2019s 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 \u00c9milie du Ch\u00e2telet, Hannah Josephson and Patricia Claxton illustrate how the open-ended portrait methodology can enlarge our understanding of the translation process.<\/p>\n\n\n\n<p><strong>El\u017cbieta Skibi\u0144ska<\/strong>, \u00ab&nbsp;Missionnaire, consacrant, passeur, h\u00e9raut&#8230;? Figures du&nbsp;traducteur de litt\u00e9rature polonaise en France&nbsp;\u00bb, 185<\/p>\n\n\n\n<p>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 &#8220;collective portrait.&#8221; 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.<\/p>\n\n\n\n<p><strong>Justyna \u0141ukaszewicz<\/strong>, \u00ab&nbsp;Traducteurs de th\u00e9\u00e2tre \u2013 portrait de groupe&nbsp;\u00bb, 203<\/p>\n\n\n\n<p>The article presents the results of a questionnaire in which I asked theatrical translators about&nbsp;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.<\/p>\n\n\n\n<p><strong>Regina Solov\u00e1<\/strong>,&nbsp;\u00ab&nbsp;Les traducteurs asserment\u00e9s polonais vus par eux-m\u00eames&nbsp;\u00bb, 215<\/p>\n\n\n\n<p>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\u2019s profession as craft (an expression used by one of the translators), in which experience is gained thanks to hard work on one\u2019s 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&nbsp;occupation.&nbsp;<\/p>\n\n\n\n<p><strong>III. TRADUCTEURS&nbsp;: FIGURES PARTICULI\u00c8RES<\/strong><\/p>\n\n\n\n<p><strong>Peter Schnyder<\/strong>,&nbsp;\u00ab&nbsp;Andr\u00e9 Gide, traducteur paradoxal&nbsp;\u00bb, 229<\/p>\n\n\n\n<p>The Nobel-prize laureate Andr\u00e9 Gide (1869\u20131951) was a somewhat \u201c paradoxical \u201d 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 \u201cblock\u201d: 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 \u201cproper usage\u201d 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 \u201cimpossible\u201d in the 1920s. It was Maurice-Edgar Coindreau who stated that translators are \u201cmen with no rights, only obligations.\u201d Gide was ready to take on this submission, as long as he could fix its conditions. A paradoxical translator\u2026<\/p>\n\n\n\n<p><strong>Daniel Gagnon<\/strong>, Union des \u00e9crivaines et \u00e9crivains qu\u00e9b\u00e9cois, \u00ab&nbsp;Figures de l\u2019auto-traducteur dans le contexte canadien-qu\u00e9b\u00e9cois&nbsp;\u00bb, 237<\/p>\n\n\n\n<p>This article examines briefly the representation of translation and translators in Canadian and&nbsp;Quebec literature generally from the mid-1940s to the works of such authors as Nicole Brossard, Jacques Poulin, Gail Scott and Francine No\u00ebl in the 1980s, before examining more particularly the case of authors including Nancy Huston, Robert Dickson and Agn\u00e8s Whitfield who translate their own works between English and French. Detailed analysis of the writer\u2019s own novels, The Marriageable Daughter and My Husband the Doctor, confirms the hypothesis that, in Canadian and Qu\u00e9b\u00e9cois contexts of self-translation, figures of the translator or translation process tend to emphasize writerly and creative dimensions.<\/p>\n\n\n\n<p><strong>Joanna G\u00f3rnikiewicz<\/strong>, \u00ab&nbsp;Figures des premiers traducteurs polonais de Proust&nbsp;\u00bb, 247<\/p>\n\n\n\n<p>Translating Proust\u2019s works is not easy&#8230; Undoubtedly anyone who has dared to tackle the original will confirm this opinion. In the article, the author presents some portraits of those who&nbsp;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\u2019s works, In Search of Lost Time, was translated for the first time.<\/p>\n\n\n\n<p><strong>Tania Collani<\/strong>,&nbsp;\u00ab&nbsp;Tous les masques du traducteur&nbsp;: l\u2019exemple d\u2019Aldo Camerino&nbsp;\u00bb 259<\/p>\n\n\n\n<p>Beginning from the 1940s, Aldo Camerino (1901\u20131966), a Venetian writer and literary critic,&nbsp;translated into Italian many literary works from French, English and Spanish. In a strongly liberticidal period (due to Mussolini\u2019s regime, racial laws and WWII), the emerging \u201cindustry of translation\u201d had to struggle to publish certain literary works, and authors\/translators were often disguised under aliases in order to escape the censorship\u2019s 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.<\/p>\n\n\n\n<p><strong>Alfred Strasser<\/strong>, \u00ab&nbsp;Karl Dedecius \u2013 traducteur et m\u00e9diateur entre la Pologne et l\u2019Allemagne&nbsp;\u00bb, 269<\/p>\n\n\n\n<p>Karl Dedecius is the most important translator of Polish poetry into German of our time. He&nbsp;was born in 1921 in \u0141\u00f3d\u017a 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.<\/p>\n\n\n\n<p><strong>Enrico Monti<\/strong>, \u00ab&nbsp;Hofstadter et les paradoxes de la traduction&nbsp;\u00bb, 279<\/p>\n\n\n\n<p>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\u2019s retranslation of Fran\u00e7oise Sagan\u2019s 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.<\/p>\n\n\n\n<p><strong>Tatiana Musinova<\/strong>,&nbsp;\u00ab&nbsp;<em>Voyage au bout de la nuit<\/em>&nbsp;: le parcours du traducteur dans l\u2019adaptation de l\u2019\u0153uvre c\u00e9linienne en russe. Sur l\u2019exemple de la traduction r\u00e9alis\u00e9e par Yuriy Korneev, 1994&nbsp;\u00bb, 291<\/p>\n\n\n\n<p>Translation into a foreign language of the work of Louis-Ferdinand C\u00e9line, the author known&nbsp;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 C\u00e9line\u2019s 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 C\u00e9line\u2019s 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 C\u00e9line. 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 \u201clittle music\u201d of C\u00e9line 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\u2026 Thus the translator working on a C\u00e9line\u2019s novel is constantly coping with many difficulties that are sometimes really impossible to overcome, so that the translation is \u201cswaying,\u201d becoming sometimes too soft and neutral, sometimes too brutal and repugnant.<\/p>\n\n\n\n<p><strong>IV. TRADUCTEURS AU TH\u00c9\u00c2TRE<\/strong><\/p>\n\n\n\n<p><strong>Beata Baczy\u0144ska<\/strong>, \u00ab&nbsp;Traducteur au th\u00e9\u00e2tre: Juliusz S\u0142owacki et son<em>&nbsp;Ksi\u0105\u017c\u0119 Niez\u0142omny (Z Calderona de la Barca)<\/em>&nbsp;\u00bb, 305<\/p>\n\n\n\n<p>The article presents the history of the reception of El pr\u00edncipe constante by Pedro Calder\u00f3n de la Barca as translated by Juliusz S\u0142owacki in Poland in connection with the form which both names \u2014 of the author and the translator \u2014 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 \u2014 on the basis of recent works devoted to the analysis of the play\u2019s translation \u2014 are inclined to treat S\u0142owacki\u2019s Constant Prince as a \u201cperformative experience of [&#8230;] acting\u201d turned into a \u201ctheatrical scenario.\u201d<\/p>\n\n\n\n<p><strong>Constantin Bobas<\/strong>, \u00ab&nbsp;Mises en traduction th\u00e9\u00e2trale : Val\u00e8re Novarina \u2013 Dimitris Dimitriadis, contextualisations multiples d\u2019un \u00e9v\u00e9nement sc\u00e9nique&nbsp;\u00bb, 319<\/p>\n\n\n\n<p>In terms of theatre, translation involves not only linguistic transfers on the level of discourse&nbsp;signification, but also a transfer of functions in relation to other signs of theatre action. Theatre&nbsp;translation as a component of a whole dramatic process has to consider among other criteria the author\u2019s (playwright) basic position which leads the speech action to the stage. In this context, the V. Novarina and D. Dimitriadis\u2019 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\u2019s work.<\/p>\n\n\n\n<p><strong>Aleksandra Chrupa\u0142a<\/strong>,<strong>&nbsp;Joanna<\/strong>&nbsp;<strong>Warmuzi\u0144ska-Rog\u00f3\u017c<\/strong>, \u00ab&nbsp;Femmes, joual et figure du traducteur&nbsp;: version polonaise d\u2019<em>Albertine, en cinq temps&nbsp;<\/em>de Michel Tremblay&nbsp;\u00bb, 331<\/p>\n\n\n\n<p>The aim of the present article is to present the problem of translating into Polish the joual,&nbsp;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-Skar\u017cy\u0144ski, 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\u2019s young age, which is also revealed in the lexical items he chose. Thus the translation itself shows the translator\u2019s influence on the final text.<\/p>\n\n\n\n<p><strong>V. FIGURES INATTENDUES<\/strong><\/p>\n\n\n\n<p><strong>Maryla Laurent<\/strong>, \u00ab&nbsp;Le myst\u00e8re irr\u00e9ductible de l\u2019\u0153uvre.&nbsp;Quand la figure du traducteur se d\u00e9multiplie&nbsp;\u00bb, 347<\/p>\n\n\n\n<p>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 \u201cBlockbusters\u201d 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.<\/p>\n\n\n\n<p><strong>Kaja Gostkowska<\/strong>, \u00ab&nbsp;Figure invisible ou le traducteur sans le savoir. Sur un aspect du discours rapport\u00e9 dans les textes biom\u00e9dicaux fran\u00e7ais et polonais&nbsp;\u00bb, 361<\/p>\n\n\n\n<p>In biomedical engineering, both in the Polish- and French-speaking world, numerous scientific&nbsp;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.<\/p>\n\n\n\n<p><strong>Witold Ucherek<\/strong>, \u00ab&nbsp;Le traducteur dans le dictionnaire bilingue&nbsp;\u00bb, 373<\/p>\n\n\n\n<p>The author analyses fragments of entries devoted to the preposition za in its spatial use found&nbsp;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.<\/p>\n\n\n\n<p><a href=\"http:\/\/rwr.wuwr.pl\/category\/59-2012-205\">Wszystkie artyku\u0142y z tomu 59. mo\u017cna odp\u0142atnie pobra\u0107 ze strony WUWr.<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-40e2a7e ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-40e2a7e .ugb-accordion__title{line-height:1em !important}.ugb-40e2a7e .ugb-accordion__arrow{fill:#ffffff}.ugb-40e2a7e .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-40e2a7e.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LX (2013) &#8211; &#8220;Alt\u00e9rit\u00e9s, contrastes, transferts&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/225\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Alt\u00e9rit\u00e9s, contrastes, transferts<\/em><\/p>\n\n\n\n<p>R\u00e9dactrices du volume: El\u017cbieta Biardzka et Justyna \u0141ukaszewicz<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2013<\/p>\n\n\n\n<p>(<em>Acta Universitatis Wratislaviensis<\/em>&nbsp;Nr 3507)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p><strong>I. ALT\u00c9RIT\u00c9S, CONTRASTES, TRANSFERTS EN LINGUISTIQUE&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Anna Dutka-Ma\u0144kowska<\/strong>, \u00ab&nbsp;Le discours direct libre en fran\u00e7ais et en polonais \u2013 approches et probl\u00e8mes de traduction&nbsp;\u00bb, 13-23<\/p>\n\n\n\n<p><strong>FREE DIRECT SPEECH IN FRENCH AND IN POLISH \u2014 APPROACHES AND PROBLEMS OF TRANSLATION<\/strong><br><br><br>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.<\/p>\n\n\n\n<p><strong>Greta Komur-Thilloy<\/strong>, \u00ab&nbsp;Strat\u00e9gie du discours rapport\u00e9 dans la presse \u00e9crite polonaise dans une perspective comparative avec la presse fran\u00e7aise. Cas du discours indirect&nbsp;\u00bb, 25-33<\/p>\n\n\n\n<p><strong>STRATEGY OF REPORTED SPEECH IN THE POLISH PRINT MEDIA IN A COMPARATIVE PERSPECTIVE WITH THE FRENCH PRINT MEDIA. CASE OF INDIRECT SPEECH<\/strong><br><br><br><br>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\u2019s interpretation.<\/p>\n\n\n\n<p><strong>Miros\u0142aw Karykowski<\/strong>, \u00ab&nbsp;Dialogisme interdiscursif en contexte judiciaire international&nbsp;\u00bb, 35-44<\/p>\n\n\n\n<p><strong>INTERDISCURSIVE DIALOGISM IN THE CONTEXT OF INTERNATIONAL CIVIL PROCEDURE<\/strong><br><br><br><br>The subject of the article is the correspondence from the years 2000\u20132010 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.<\/p>\n\n\n\n<p><strong>Monika Grabowska<\/strong>,&nbsp; \u00ab&nbsp;L\u2019appr\u00e9hension de&nbsp;l\u2019Autre dans l\u2019interaction&nbsp;: le cas des formes d\u2019adresse dans le roman&nbsp;<em>Madame&nbsp;<\/em>de Antoni Libera&nbsp;\u00bb, 45-54<\/p>\n\n\n\n<p><strong>PERCEIVING THE OTHER THROUGH INTERACTION: THE CASE OF ADDRESS FORMS IN THE NOVEL MADAME BY ANTONI LIBERA<\/strong><br><br><br><br>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 \u201dPer aspera ad astra\u201c whose plot focuses on a French lesson.<br><br>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.<\/p>\n\n\n\n<p><strong>Witold Ucherek<\/strong>, \u00ab&nbsp;La pr\u00e9position&nbsp;<em>za&nbsp;<\/em>au sens temporel dans les dictionnaires g\u00e9n\u00e9raux polonais-fran\u00e7ais&nbsp;\u00bb, 55-64<\/p>\n\n\n\n<p><strong>THE PREPOSITION ZA IN ITS TEMPORAL USE IN THE GENERAL POLISH-FRENCH DICTIONARIES<\/strong><br><br><br>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.<\/p>\n\n\n\n<p><strong>Ewa Miczka<\/strong>, \u00ab&nbsp;Les structures discursives \u00e0 sc\u00e9narios parall\u00e8les. Le cas du fait divers&nbsp;\u00bb, 65-76<\/p>\n\n\n\n<p><strong>DISCOURSE STRUCTURES WITH PARALLEL SCENARIOS. THE CASE OF FAIT DIVERS<\/strong><br><br><br><br>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.&nbsp;<\/p>\n\n\n\n<p><strong>II. ALT\u00c9RIT\u00c9S, CONTRASTES, TRANSFERTS EN \u00c9TUDES LITT\u00c9RAIRES&nbsp;<\/strong><\/p>\n\n\n\n<p><strong>Catherine Dumas<\/strong>, \u00ab&nbsp;De la&nbsp;<em>comedia<\/em>&nbsp;espagnole \u00e0 la com\u00e9die fran\u00e7aise : trois exemples chez les fr\u00e8res Corneille\u00bb, 79-87<\/p>\n\n\n\n<p><strong>FROM SPANISH COMEDIA TO FRENCH COMEDY. THREE ADAPTATIONS BY THE CORNEILLE BROTHERS<\/strong><br><br><br><br>This article sets off the links and discrepancies between Spanish Golden Age comedias c\u00f3micas and their adaptations by French playwrights in the middle of the XVIIth Century. The exam ples of three comedies \u2014 Pierre Corneille\u2019s Le Menteur and La Suite du Menteur (from Alarc\u00f3n\u2019s La verdad sospechosa and Lope de Vega\u2019s Amar sin saber a qui\u00e9n), and Thomas Corneille\u2019s Don Bertrand de Cigarral, (adapted from Rojas Zorrilla\u2019s Entre bobos anda el juego) \u2014 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\u2019 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.<\/p>\n\n\n\n<p><strong>Natalia Paprocka<\/strong>, \u00ab&nbsp;Des contrastes entre la litt\u00e9rature traduite et non traduite : sur l\u2019exemple des formes nominales d\u2019adresse dans la litt\u00e9rature de jeunesse polonaise et traduite du fran\u00e7ais en polonais&nbsp;\u00bb,89-101<\/p>\n\n\n\n<p><strong>CONTRASTS BETWEEN TRANSLATED AND NON TRANSLATED LITERATURE : EXAMPLE OF THE NOMINAL ADDRESS FORMS IN POLISH YOUTH LITERATURE AND FRENCH YOUTH LITERATURE TRANSLATED INTO POLISH<\/strong><br><br><br><br>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 PROSZ\u0118 + civility title.<br><br>Observed contrasts seem to have two different origins: (1) actual differences between the Polish and French address systems, and (2) the translator\u2019s 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.<\/p>\n\n\n\n<p><strong>Fran\u00e7ois-Ronan Dubois<\/strong>, \u00ab&nbsp;Le transfert inters\u00e9miotique et l\u2019alt\u00e9rit\u00e9 culturelle : examen des cinq longs-m\u00e9trages consacr\u00e9s \u00e0&nbsp;<em>La Princesse de Cl\u00e8ves<\/em>&nbsp;(Delannoy, Oliveira, Zulawski, Honor\u00e9 et Sauder)&nbsp;\u00bb, 103-111<\/p>\n\n\n\n<p><strong>HOW INTERSEMIOTIC TRANSLATION REVEALS CULTURAL OTHERNESS : A STUDY OF FIVE FILMS DEVOTED TO LA PRINCESSE DE CL\u00c8VES (DELANNOY, OLIVEIRA, ZULAWKI, HONOR\u00c9 AND SAUDER)<\/strong><br><br><br><br>This paper focuses on five films, produced from 1961 to 2011 and related to the 1678 La Princesse de Cl\u00e8ves. 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.<\/p>\n\n\n\n<p><strong>Matteo Martelli<\/strong>, \u00ab&nbsp;I rumori di fondo: alterit\u00e0 e forme di conoscenza da&nbsp;<em>Il poema dei lunatici<\/em>&nbsp;a&nbsp;<em>La voce della luna<\/em>&nbsp;\u00bb, 113-121<\/p>\n\n\n\n<p><strong>OTHERNESS AND FORMS OF KNOWLEDGE FROM IL POEMA DEI LUNATICI TO LA VOCE DELLA LUNA<\/strong><br><br><br><br>The study suggests an analysis of the transfer from the novel of Ermanno Cavazzoni, Il poema dei lunatici, into the Federico Fellini\u2019s 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\u2019s way of dealing with adaptation, how the rewriting practice interprets and deepens the basic themes of novel.<\/p>\n\n\n\n<p><strong>Anna Maziarczyk<\/strong>, \u00ab&nbsp;Nov\u00e9lisation comme traduction inters\u00e9miotique :&nbsp;<em>Cin\u00e9ma<\/em>&nbsp;de Tanguy Viel&nbsp;\u00bb, 123-130<\/p>\n\n\n\n<p><strong>NOVELISATION AS INTERSEMIOTIC TRANSLATION: CINEMA BY TANGUY VIEL<\/strong><br><br><br><br>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 Cin\u00e9ma, 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\u2019s popularity, Cin\u00e9ma 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.<\/p>\n\n\n\n<p><strong>Agata Rola<\/strong>, \u00ab&nbsp;Transfert interlinguistique et inters\u00e9miotique d&#8217;<em>Oscar et la dame rose<\/em>&nbsp;d&#8217;\u00c9ric-Emmanuel Schmitt: Dieu aux yeux d&#8217;un jeune malade&nbsp;\u00bb, 131-139<\/p>\n\n\n\n<p><strong>INTERLINGUAL AND INTERSEMIOTIC TRANSLATION OF OSCAR AND THE LADY IN PINK BY \u00c9RIC-EMMANUEL SCHMITT: GOD SEEN BY A YOUNG PATIENT<\/strong><br><br><br><br>Oscar and the Lady in Pink is the most frequently adapted narrative by \u00c9ric-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.<\/p>\n\n\n\n<p><strong>Renata Bizek-Tatara<\/strong>, \u00ab&nbsp;Le th\u00e8me du double dans&nbsp;<em>L\u2019histoire ex\u00e9crable d\u2019un h\u00e9ros braban\u00e7on<\/em>&nbsp;de Jean Muno&nbsp;\u00bb, 141-148<\/p>\n\n\n\n<p><strong>THE THEME OF DUALITY IN L\u2019HISTOIRE EX\u00c9CRABLE D\u2019UN H\u00c9ROS BRABAN\u00c7ON BY JEAN MUNO<\/strong><br><br><br><br>The theme of duality, omnipresent in the writing of Jean Muno, is particularly discussed in the novel L\u2019histoire ex\u00e9crable d\u2019un h\u00e9ros braban\u00e7on. 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).<\/p>\n\n\n\n<p><strong>Maria Papadima<\/strong>, \u00ab&nbsp;Se raconter dans une langue qui est presque la sienne&nbsp;\u00bb, 149-157<\/p>\n\n\n\n<p><strong>NARRATED IN A LANGUAGE THAT IS NOT ONE\u2019S OWN<\/strong><br><br><br><br>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 V\u00e9nus Khoury-Ghata, whose viewpoints intersect with Nancy Huston\u2019s and Claude Esteban\u2019s reflections on bilingualism.<br><br>Each author\u2019s knowledge of the French language, which derives from their own personal history \u2014 often following the course of History \u2014 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.&nbsp;<br><br>These two women writers do no write \u201cFrench\u201d but \u201cin French\u201d, 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 \u201clitt\u00e9rature-monde\u201d.<\/p>\n\n\n\n<p><strong>Victoire Feuillebois<\/strong>,&nbsp;\u00ab&nbsp;Dialogisme et interpr\u00e9tation dans la fiction \u00e0 r\u00e9cit-cadre romantique&nbsp;\u00bb, 159-167<\/p>\n\n\n\n<p><strong>DIALOGISM AND INTERPR\u00c9TATION IN RUSSIAN ROMANTIC FRAME NARRATIVES<\/strong><br><br><br><br>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\u2019s voice or the ideologic unity of the text presented.<\/p>\n\n\n\n<p><strong>III. COMPTES-RENDUS<\/strong><\/p>\n\n\n\n<p><strong>Stefan Kaufman<\/strong>,&nbsp;\u00ab&nbsp;<em>Wyrazy francuskiego pochodzenia we wsp\u00f3\u0142czesnym j\u0119zyku polskim<\/em>, par Anna Bochnakowa (r\u00e9d.), Wydawnictwo Uniwersytetu Jagiello\u0144skiego, Krak\u00f3w 2012&nbsp;\u00bb, 171-173<\/p>\n\n\n\n<p><strong>Witold Ucherek<\/strong>, \u00ab&nbsp;<em>Les dictionnaires et l\u2019emprunt. XVI<sup>e<\/sup>-XXI<sup>e<\/sup>&nbsp;si\u00e8cle<\/em>, dir. Agn\u00e8s Steuckardt, Odile Leclercq, A\u00efno Niklas-Salminen et Mathilde Thorel, collection&nbsp;<em>Langues et langage<\/em>, Publications de l\u2019Universit\u00e9 de Provence, Aix-en-Provence 2011&nbsp;\u00bb, 173-175<\/p>\n\n\n\n<p><a href=\"http:\/\/rwr.sjol.eu\/category\">Wszystkie artyku\u0142y z tomu 60. mo\u017cna odp\u0142atnie pobra\u0107 ze strony WUWr.<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-48da5b3 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-48da5b3 .ugb-accordion__title{line-height:1em !important}.ugb-48da5b3 .ugb-accordion__arrow{fill:#ffffff}.ugb-48da5b3 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-48da5b3.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXI (2014) &#8211; Histoire et litt\u00e9rature: le roman historique de Madame de la Fayette \u00e0 Laurent Binet<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/226\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Histoire et litt\u00e9rature: le roman historique de Madame de la Fayette \u00e0 Laurent Binet<\/em><\/p>\n\n\n\n<p>R\u00e9dactrice du volume: Helena Duffy<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2014<\/p>\n\n\n\n<p>(<em>Acta Universitatis Wratislaviensis<\/em>&nbsp;Nr&nbsp;3557)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p><strong>Helena Duffy<\/strong>, \u00ab&nbsp;Pr\u00e9sentation \u00bb, 7-11<\/p>\n\n\n\n<p><strong>Maja Paw\u0142owska<\/strong>, \u00ab&nbsp;Les conceptions du roman et de l\u2019histoire : au d\u00e9but du XVIIe si\u00e8cle et dans la \u00ab Querelle sur La Princesse de Cl\u00e8ves \u00bb \u00bb, 13-20<\/p>\n\n\n\n<p><strong>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<\/strong><\/p>\n\n\n\n<p>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\u2019s advocate. In Valincour\u2019s 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.<\/p>\n\n\n\n<p><strong>Monika Kulesza<\/strong>, \u00ab&nbsp;Entre la morale, la galanterie et le burlesque : la nouvelle historique dans les ann\u00e9es soixante-dix du XVIIe si\u00e8cle&nbsp;\u00bb, 21-32<\/p>\n\n\n\n<p><strong>BETWEEN MORALITY, GALLANTRY, AND BURLESQUE: THE HISTORICAL SHORT STORY IN THE SEVENTIESOF THE SEVENTEENTH CENTURY<\/strong><\/p>\n\n\n\n<p>Using as examples Dom Carlos by Saint-R\u00e9al (1672), Les Annales galantes by Mme de Villedieu (1670) and Le Prince de Cond\u00e9 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.<\/p>\n\n\n\n<p><strong>Abderhaman Messaoudi<\/strong>,&nbsp; \u00ab&nbsp;Voltaire et le roman historique&nbsp;\u00bb, 33-43<\/p>\n\n\n\n<p><strong>VOLTAIRE AND THE HISTORICAL NOVEL<\/strong><\/p>\n\n\n\n<p>The article takes as a starting point the well-known hesitations of and even disagreements among critics regarding the classification of Voltaire\u2019s works. The category of historical novel helps here to foster a discussion about genres by positing Voltaire\u2019s 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\u2019s works can all the more help us to explore new paths in both fields.<\/p>\n\n\n\n<p><strong>Anna Kaczmarek<\/strong>, \u00ab&nbsp;Entre l\u2019histoire et le mythe : la Cour des Miracles dans Notre-Dame de Paris de Victor Hugo et Le Parfum de Patrick S\u00fcskind&nbsp;\u00bb, 45-60<\/p>\n\n\n\n<p><strong>BETWEEN HISTORY AND MYTH: THE COURT OF MIRACLES IN VICTOR HUGO\u2019S THE HUNCHBACK OF NOTRE-DAME AND PATRICK S\u00dcSKIND\u2019S PERFUME<\/strong><\/p>\n\n\n\n<p>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 \u2018society of outlaws\u2019 inspired many authors and artists. In Victor Hugo\u2019s The Hunchback of Notre-Dame and Patrick S\u00fcskind\u2019s 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\u2019 action.<\/p>\n\n\n\n<p><strong>Agata Sadkowska-Fidala<\/strong>, \u00ab&nbsp;De l\u2019histoire au roman : Barbey d\u2019Aurevilly ou \u00ab l\u2019histoire qui ne s\u2019\u00e9crit pas \u00bb \u00bb, 61-74<\/p>\n\n\n\n<p><strong>FROM HISTORY TO THE NOVEL: THE WORKS OF BARBEY D\u2019AUREVILLY OR \u2018AN UNWRITTEN HISTORY\u2019<\/strong><\/p>\n\n\n\n<p>History is very important in Barbey d\u2019Aurevilly\u2019s 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\u2019s philosophy of history, his novels become a sort of poems woven on the canvas of history.<\/p>\n\n\n\n<p><strong>Sophie Guerm\u00e8s<\/strong>, \u00ab&nbsp;La fable documentaire : Zola et l\u2019Histoire&nbsp;\u00bb, 75-85<\/p>\n\n\n\n<p><strong>THE DOCUMENTARY FABLE: ZOLA AND HISTORY<\/strong><\/p>\n\n\n\n<p>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 \u2018closed circle,\u2019 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\u2019s 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 \u2018fable,\u2019 that is to say, fiction, though it is still a documentary fable that guarantees its own historical veracity.<\/p>\n\n\n\n<p><strong>Magdalena Zdrada-Cok<\/strong>, \u00ab&nbsp;L\u2019Histoire berb\u00e8re d\u2019apr\u00e8s J.M.G. Le Cl\u00e9zio et Tahar Ben Jelloun \u00bb, 87-97<\/p>\n\n\n\n<p><strong>THE BERBER STORY IN THE NOVELS OF J.M.G. LE CL\u00c9ZIO AND TAHAR BEN JELLOUN<\/strong><\/p>\n\n\n\n<p>The article offers a comparative analysis of D\u00e9sert (1980) by J.M.G. Le Cl\u00e9zio and La Pri\u00e8re de l\u2019absent (1981) by Tahar Ben Jelloun. It concentrates on the ways of presenting Ma el A\u00efnine, the charismatic leader of the anticolonial uprising in the Southern Morocco (1909\u20131912), 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.<\/p>\n\n\n\n<p><strong>Joanna Jakubowska-Cicho\u0144<\/strong>, \u00ab&nbsp;La mise en r\u00e9cit de la Grande Guerre : remarques sur l\u2019instance narratrice dans Un long dimanche de fian\u00e7ailles de S\u00e9bastien Japrisot&nbsp;\u00bb, 99-108<\/p>\n\n\n\n<p><strong>PUTTING THE GREAT WAR INTO THE NARRATIVE: S\u00c9BASTIEN JAPRISOT\u2019S A VERY LONG ENGAGEMENT<\/strong><\/p>\n\n\n\n<p>This article is devoted to the study of S\u00e9bastien Japrisot\u2019s novel Un long dimanche de fian\u00e7ailles (A Very Long Engagement) that belongs to the current of literature denouncing the military authorities\u2019 abuses during the First World War. The article concentrates on the novel\u2019s narrative devices, especially on the relations between the narrator and the protagonist\u2019s discourse, with the intention to demonstrate that the narrator voluntarily renounces his enunciative authority, thus sharing the protagonists\u2019 value system. In the context of the topical tendency to question the Great War\u2019s events, the narrator\u2019s egalitarian attitude seems eloquent, in that it legitimates the discourse that condemns the very notion of authority.<\/p>\n\n\n\n<p><strong>Anna Maziarczyk<\/strong>, \u00ab&nbsp;Une inqui\u00e9tante puissance du blanc. L\u2019\u00e9criture lazar\u00e9enne dans Dora Bruder de Patrick Modiano&nbsp;\u00bb, 109-120<\/p>\n\n\n\n<p><strong>THE DISTURBING POWER OF WHITENESS: LAZARIAN WRITING IN PATRICK MODIANO\u2019S DORA BRUDER<\/strong><\/p>\n\n\n\n<p>Mondiano\u2019s 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\u2019s text embodies Lazarian characteristics of a narrative. Faced with the impossibility of representing the tragic events, Modiano resorts to the Barthesian \u2018white writing\u2019: 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\u2019s novel thus reflects the theme of annihilation that it explores.<\/p>\n\n\n\n<p><strong>Helena Duffy<\/strong>, \u00ab&nbsp;Une histoire vraie : La Terre et le ciel de Jacques Dorme d\u2019Andre\u00ef Makine comme exemple de m\u00e9tafiction historiographique&nbsp;\u00bb, 121-137<\/p>\n\n\n\n<p><strong>A TRUE STORY: ANDRE\u00cf MAKINE\u2019S LA TERRE ET LE CIEL DE JACQUES DORMEAS AN EXAMPLE OF HISTORIOGRAPHIC METAFICTION<\/strong><\/p>\n\n\n\n<p>The article deals with Andre\u00ef Makine\u2019s 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\u2019s 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\u2019s 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\u2019s 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.<\/p>\n\n\n\n<p><strong>France Grenaudier-Klijn<\/strong>, \u00ab&nbsp;Savoir historique et fiction romanesque : HHhH de Laurent Binet ou les travers du \u00ab je \u00bb narratif&nbsp;\u00bb, 139-148<\/p>\n\n\n\n<p><strong>HISTORICAL KNOWLEDGE AND LITERARY FICTION:HHhH OR THE SHORTCOMINGS OF THE NARRATING I<\/strong><\/p>\n\n\n\n<p>Towards the end of HHhH (2009) the narrator, who has long hesitated on the labelling of his text \u2013\u2013 \u2018my book about Heydrich\u2019; \u2018my little book on Heydrich\u2019; \u2018my story\u2019; \u2018my novel\u2019 \u2013\u2013 comes to the following conclusion: \u2018I think I\u2019m starting to understand: I\u2019m writing an infranovel.\u2019 This generic designation encapsulates Binet\u2019s 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\u2019s \u2018infranovel\u2019 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\u2019s earnestness, and will consider the legit-imacy of the self-aware narrating I in (metafictional) historiography.<\/p>\n\n\n\n<p><strong>COMPTES-RENDUS<\/strong><\/p>\n\n\n\n<p><strong>Anca-Andreea Chetrariu<\/strong>,&nbsp;\u00ab&nbsp;Nouveaux \u00e9clairages sur la retraduction : de la r\u00e9flexion vers le travail critique&nbsp;\u00bb, 151-154<\/p>\n\n\n\n<p><strong>Przemys\u0142aw D\u0119bowiak<\/strong>, \u00ab&nbsp;Invitation aux \u00e9tudes diachroniques. Pr\u00e9sentation d\u2019une revue&nbsp;\u00bb, 154-155<\/p>\n\n\n\n<p><strong>El\u017cbieta Skibi\u0144ska<\/strong>, \u00ab&nbsp;La post\u00e9rit\u00e9 de Don Quijote ou la pseudo-traduction entre th\u00e9ories et pratiques&nbsp;\u00bb, 155-158<\/p>\n\n\n\n<p><strong>Regina Solov\u00e1<\/strong>, \u00ab&nbsp;Autour de l\u2019\u00e9thique de l\u2019interpr\u00e8te en situations extr\u00eames&nbsp;\u00bb, 158-160<\/p>\n\n\n\n<p><a href=\"http:\/\/rwr.sjol.eu\/category\">Wszystkie artyku\u0142y z tomu 61. mo\u017cna odp\u0142atnie pobra\u0107 ze strony WUWr.<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-043edef ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-043edef .ugb-accordion__title{line-height:1em !important}.ugb-043edef .ugb-accordion__arrow{fill:#ffffff}.ugb-043edef .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-043edef.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXII (2015) &#8211; &#8220;Noms propres : mode(s) d&#8217;emploi&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/227\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Noms propres : mode(s) d&#8217;emploi<\/em><\/p>\n\n\n\n<p>R\u00e9dactrices du volume: Monika Grabowska et Natalia Paprocka<\/p>\n\n\n\n<p>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<\/p>\n\n\n\n<p>Wroc\u0142aw 2015<\/p>\n\n\n\n<p>(<em>Acta Universitatis Wratislaviensis<\/em>&nbsp;Nr 3637)<\/p>\n\n\n\n<p>Table des mati\u00e8res<\/p>\n\n\n\n<p><strong>Monika Grabowska, Natalia Paprocka<\/strong>,&nbsp;Pr\u00e9sentation,&nbsp;7-9<\/p>\n\n\n\n<p><strong>Monika Grabowska<\/strong>, \u00ab&nbsp;Le pr\u00e9nom en cours de fran\u00e7ais \u2015 exemple du film Entre les murs de Laurent Cantet&nbsp;&nbsp;\u00bb, 11-35<\/p>\n\n\n\n<p><strong>FIRST NAMES IN A FRENCH CLASS \u2014 ANALYSIS OF THE INTERACTIONS IN THE FILM ENTRE LES MURS BY LAURENT CANTET<\/strong><br><br><br><br>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 Fran\u00e7ois B\u00e9gaudeau 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).&nbsp;<br><br>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.<\/p>\n\n\n\n<p><strong>Marcin Jakubczyk<\/strong>, \u00ab&nbsp;Les choronymes fran\u00e7ais relatifs aux r\u00e9gions de Pologne (XVII\u1d49 et XVIII\u1d49 si\u00e8cles)&nbsp;\u00bb, 37-48<\/p>\n\n\n\n<p><strong>FRENCH CHORONYMS RELATING TO REGIONS OF POLAND (17TH- AND 18TH-CENTURY)&nbsp;<\/strong><br><br><br><br>This paper presents the French 17th- and 18th-century choronyms relating to regions of Poland, e.g.: Mazovie, Sil\u00e9sie, 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 (Spi\u0161) forms are discussed.<\/p>\n\n\n\n<p><strong>Agnieszka Konowska<\/strong>, \u00ab&nbsp;Quelques aper\u00e7us des emplois dysph\u00e9miques des noms propres servant de base aux palimpsestes verbo-culturels&nbsp;\u00bb, 49-61<\/p>\n\n\n\n<p><strong>SOME INSIGHTS ABOUT DYSPHEMIC USES OF PROPER NAMES AS ABASIS FOR VERBO-CULTURAL PALIMPSESTS<\/strong><br><br><br><br>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 \u201cpalimpsestes verbo-culturels\u201d (verbo-cultural palimpsests). We consider proper names as fixed sequences which can undergo the process of \u201cd\u00e9figement\u201d (deconstruction) in the same way as any other complex lexical unit. We analyze the reasons for the creation of what we call \u201cpalimpsestes verbo-culturels propriels\u201d (proprial verbo-cultural palimpsests) as well as the effects of meaning produced due to this creation and the means which make it possible.&nbsp;<\/p>\n\n\n\n<p><strong>Natalia Paprocka<\/strong>, \u00ab&nbsp;Les titres traduits et les contraintes extratextuelles qui p\u00e8sent sur leur choix. Sur l\u2019exemple des traductions polonaises de la litt\u00e9rature de jeunesse fran\u00e7aise&nbsp;\u00bb, 63-84<\/p>\n\n\n\n<p><strong>TRANSLATED TITLES AND EXTRATEXTUAL FACTORS DETERMINING THE CHOICE OF THE TITLES. BASED ON THE EXAMPLE OF POLISH TRANSLATIONS OF FRENCH YOUTH LITERATURE<\/strong><br><br><br><br>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\u20132014). 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.<br><br>(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.<br><br>(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.&nbsp;<br><br>(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.&nbsp;<\/p>\n\n\n\n<p><strong>Regina Solov\u00e1<\/strong>, \u00ab&nbsp;Les noms propres et les normes de traduction. Sur l\u2019exemple des noms de juridictions civiles fran\u00e7aises et polonaises traduits par les candidats \u00e0 la profession de traducteur asserment\u00e9&nbsp;\u00bb, 85-101<\/p>\n\n\n\n<p><strong>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<\/strong><br><br><br><br>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.<br><br>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.&nbsp;<br><br>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.<br><br>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.<br><br>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.<\/p>\n\n\n\n<p><strong>Anna Stopa-Piwowarczyk<\/strong>, \u00ab&nbsp;Les Trente Glorieuses \u00e0 l\u2019ombre de la Tour Eiffel \u2015 noms propres et p\u00e9riphrases en fran\u00e7ais contemporain&nbsp;\u00bb, 103-110<\/p>\n\n\n\n<p><strong>LES TRENTE GLORIEUSES \u00c0 L\u2019OMBRE DE LA TOUR EIFFEL \u2014 PROPER NAMES AND PERIPHRASIS IN MODERN FRENCH<\/strong><br><br><br><br>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\u2019oiseau de V\u00e9nus, biblical name: la fille d\u2019\u00c8ve, 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.<\/p>\n\n\n\n<p><strong>Witold Ucherek<\/strong>, \u00ab&nbsp;Les unit\u00e9s phras\u00e9ologiques relatives \u00e0 la France et aux Fran\u00e7ais dans les dictionnaires polonais&nbsp;\u00bb, 111-135<\/p>\n\n\n\n<p><strong>PHRASEOLOGICAL UNITS RELATING TO FRANCE AND FRENCHMEN IN THE POLISH DICTIONARIES<\/strong><br><br><br><br>The paper deals with Polish phraseological units containing the toponymic name Francja (\u2018France\u2019) and the adjective francuski (\u2018French\u2019), derived from the ethnic name Francuz (\u2018Frenchman\u2019), 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.<\/p>\n\n\n\n<p><strong>COMPTES-RENDUS<\/strong><\/p>\n\n\n\n<p><strong>Anna Bochnakowa<\/strong>,&nbsp;\u00ab&nbsp;Participe pass\u00e9 encore une fois d\u00e9battu&nbsp;\u00bb&nbsp;(<em>Le Participe pass\u00e9 entre accords et d\u00e9saccords<\/em>, sous la direction de Fabrice Marsac et Jean-Christophe Pellat, Strasbourg, Presses universitaires de Strasbourg, 2013), 139-141<\/p>\n\n\n\n<p><strong>Jadwiga Cook<\/strong>,&nbsp;\u00ab&nbsp;Traduction dans une agence de presse comme moteur d\u2019\u00e9volution de la syntaxe&nbsp;\u00bb&nbsp;(<em>Syntactic Borrowing in Contemporary French. A Linguistic Analysis of News Translation<\/em>, par Mairi McLaughlin, London, Modern Humanities Research Association and Maney Publishing, 2011), 141-143<\/p>\n\n\n\n<p><strong>Justyna \u0141ukaszewicz<\/strong>,&nbsp;\u00ab&nbsp;Y a-t-il une sp\u00e9cificit\u00e9 f\u00e9minine en traduction?&nbsp;\u00bb&nbsp;(<em>Des femmes traductrices. Entre alt\u00e9rit\u00e9 et affirmation de soi<\/em>, sous la direction d\u2019Andr\u00e9e Lerousseau, Paris, L\u2019Harmattan, 2013), 143-146<\/p>\n\n\n\n<p><strong>Natalia Paprocka<\/strong>,&nbsp;\u00ab&nbsp;La &#8220;Cendrillon des Cendrillons&#8221; polono-italienne : nouvelle revalorisation des traductions pour la jeunesse (<em>Przek\u0142ady w systemie ma\u0142ych literatur. O w\u0142osko\u2013polskich i polsko\u2013w\u0142oskich t\u0142umaczeniach dla dzieci i m\u0142odzie\u017cy<\/em>, par Monika Wo\u017aniak, Katarzyna Biernacka-Licznar et Bogumi\u0142a Stani\u00f3w, Toru\u0144, Adam Marsza\u0142ek, 2014), 146-151<\/p>\n\n\n\n<p><strong>Witold Ucherek<\/strong>,&nbsp;\u00ab&nbsp;Pour un v\u00e9ritable dictionnaire de traduction (<em>Od przek\u0142adu do s\u0142ownika. Korpus r\u00f3wnoleg\u0142y w redakcji s\u0142ownik\u00f3w t\u0142umaczeniowych<\/em>, par Dariusz Bralewski, \u0141ask, Oficyna Wydawnicza LEKSEM, 2012), 151-155<\/p>\n\n\n\n<p><a href=\"http:\/\/rwr.sjol.eu\/category\">Wszystkie artyku\u0142y z tomu 62. mo\u017cna pobra\u0107 ze strony WUWr.<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-145f89b ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-145f89b .ugb-accordion__title{line-height:1em !important}.ugb-145f89b .ugb-accordion__arrow{fill:#ffffff}.ugb-145f89b .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-145f89b.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXIII (2016) &#8211; &#8220;Mots en listes : usages et fonctions&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/228\" target=\"_blank\" rel=\"noreferrer noopener\">Link<\/a><\/p>\n\n\n\n<p><em>Mots en listes : usages et fonctions<\/em><br>R\u00e9dacteurs du volume: Joanna Jakubowska et Witold Ucherek<br>Wydawnictwo Uniwersytetu Wroc\u0142awskiego<br>Wroc\u0142aw 2016<br>&nbsp;<br><strong>Table des mati\u00e8res<\/strong><br>Pr\u00e9sentation (Joanna Jakubowska et Witold Ucherek)<br>&nbsp;<br>Anna Bochnakowa, Les mots fran\u00e7ais dans le&nbsp;<em>Waaren Lexicon<\/em>&nbsp;de Ph.A. Nemnich (fin du XVIIIe si\u00e8cle)<\/p>\n\n\n\n<p>FRENCH VOCABULARY IN WAAREN LEXICON BY PH.A. NEMNICH(END OF THE 18th CENTURY)<\/p>\n\n\n\n<p>The&nbsp;article is a description of French vocabulary included in the multilingual dictionary of merchandise from the 18th century entitled Waaren-Lexicon in zw\u00f6lf 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.<\/p>\n\n\n\n<p>&nbsp;<br>Est\u00e8le Dupuy, Corinne F\u00e9ron, Contribution \u00e0 l\u2019\u00e9tude diachronique du vocabulaire relatif au son \u2014 remarques sur la traduction du livre V du&nbsp;<em>De architectura<\/em>&nbsp;de Vitruve par Jean Martin (1547)<\/p>\n\n\n\n<p>CONTRIBUTION TO THE DIACHRONIC STUDY OF THE VOCABULARY RELATED TO SOUND: REMARKS ON JEAN MARTIN\u2019S TRANSLATION (1547) OF THE FIFTH BOOK OF DE ARCHITECTURA BY VITRUVIUS<br>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\u2019 text, and resonance, which, in Martin\u2019s meaning, is a product of a semantic change.<\/p>\n\n\n\n<p>Kaja Gostkowska, Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs<\/p>\n\n\n\n<p>HOW TO MASTER THE ABUNDANCE OF COLOURS ON THE PAINTER\u2019S PALETTE, OR A STEP TOWARDS THE TERMINOLOGICAL LIST OFTERMS RELATED TO COLOURS<br>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\u2019 terminology.<\/p>\n\n\n\n<p>&nbsp;<br>Monika Grabowska, Les dictionnaires dans l\u2019apprentissage du FLE en Pologne: \u00e9tat des lieux<\/p>\n\n\n\n<p>USE OF DICTIONARIES IN TEACHING FRENCH AS A FOREIGN LANGUAGE IN POLAND: BASELINE STUDY<br>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\u2019 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.<\/p>\n\n\n\n<p>&nbsp;<br>Alicja Kacprzak, La&nbsp;<em>veille n\u00e9ologique<\/em>&nbsp;en tant que d\u00e9marche \u00e0 vis\u00e9e lexicographique: exemple de l\u2019emprunt r\u00e9cent \u00e0 l\u2019anglais en fran\u00e7ais et en polonais<\/p>\n\n\n\n<p>VEILLE N\u00c9OLOGIQUE AS A LEXICOGRAPHIC APPROACH. ILLUSTRATED BY THE EXAMPLE OF NEW BORROWINGS FROM ENGLISH TO FRENCH AND POLISH<br>The article presents one of the relatively new approaches of lexicological registration and elaboration on neologisms (so called veille n\u00e9ologique, 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.<\/p>\n\n\n\n<p>&nbsp;<br>Tomasz Szyma\u0144ski, Le dictionnaire comme champ de lutte id\u00e9ologique : les id\u00e9es de religion naturelle et de religion universelle dans les dictionnaires du si\u00e8cle des Lumi\u00e8res (1764\u20131775)<\/p>\n\n\n\n<p>THE DICTIONARY AS AN IDEOLOGICAL BATTLEFIELD: NATURAL RELIGION AND UNIVERSAL RELIGION IDEAS IN THE DICTIONARIES OF THE AGE OF ENLIGHTENMENT (1764\u20131775)<br>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, Fran\u00e7ois or Nonnotte.<\/p>\n\n\n\n<p>&nbsp;<br>Witold Ucherek, Les listes de noms propres dans les dictionnaires g\u00e9n\u00e9raux polonais-fran\u00e7ais et fran\u00e7ais-polonais<\/p>\n\n\n\n<p>LISTS OF PROPER NOUNS IN POLISH-FRENCH AND FRENCH-POLISH GENERAL DICTIONARIES<br>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.<\/p>\n\n\n\n<p>&nbsp;<br>Xinxia Wang, Vers un dictionnaire bilingue d\u2019adjectifs qualificatifs du FLE<\/p>\n\n\n\n<p>TOWARDS A BILINGUAL DICTIONARY OF QUALIFICATIVE ADJECTIVES FOR TEACHING FRENCH AS A FOREIGN LANGUAGE<br>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.<\/p>\n\n\n\n<p>&nbsp;<br>Tomasz Wys\u0142obocki, La R\u00e9volution fran\u00e7aise dans les dictionnaires ou les dictionnaires en r\u00e9volution<\/p>\n\n\n\n<p>THE FRENCH REVOLUTION IN DICTIONARIES: DICTIONARIES IN REVOLUTION<br>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 \u2014 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 \u2014 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.<\/p>\n\n\n\n<p>&nbsp;<br><strong>VARIA<\/strong><br>Fabrice Hirsch, Fabrice Marsac, Ivana Didirkova, Marion Bechet, Mohammed Anouar Ben Messaoud, Sp\u00e9cificit\u00e9s du rythme de la parole politique. Le cas de Fran\u00e7ois Hollande<\/p>\n\n\n\n<p>RHYTHMICAL SPECIFICITIES OF POLITICAL SPEECH. THE CASE OF FRAN\u00c7OIS HOLLANDE<br>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 Fran\u00e7ois 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.<\/p>\n\n\n\n<p>&nbsp;<br>Agata R\u0119bkowska, Humor w badaniach nad przek\u0142adem<\/p>\n\n\n\n<p>HUMOUR IN TRANSLATION STUDIES<br>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.<\/p>\n\n\n\n<p>&nbsp;<br>Ewa Warmuz,&nbsp;<em>Veau \u2014 veux, bac \u2014 bague<\/em>&nbsp;et&nbsp;<em>elle a peur du feu<\/em>: quelques r\u00e9flexions sur la nature et l\u2019utilisation des corpus dans les activit\u00e9s de phon\u00e9tique propos\u00e9es par les m\u00e9thodes de FLE actuelles pour adultes et grands adolescents<\/p>\n\n\n\n<p>VEAU \u2014 VEUX, BAC \u2014 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<br>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.<\/p>\n\n\n\n<p>&nbsp;<br><strong>COMPTES-RENDUS<\/strong><br>Joanna Jakubowska, Rachilde revisit\u00e9e (<em>Au carrefour des esth\u00e9tiques. Rachilde et son \u00e9criture romanesque 1880\u20131913<\/em>, par Anita Staro\u0144, Wydawnictwo Uniwersytetu \u0141\u00f3dzkiego, \u0141\u00f3d\u017a 2015)<br>Catherine Kiyitsioglou-Vlachou, D\u00e9veloppement de la comp\u00e9tence linguistique : une valeur ajout\u00e9e pour les apprenants du FLE (<em>Red\u00e9finir la comp\u00e9tence linguistique en classe de langue. Hommage \u00e0 Ludomir Przestaszewski<\/em>, sous la direction de Rados\u0142aw Kucharczyk et Maciej Smuk, \u00c9dition de l\u2019Institut d\u2019\u00c9tudes Romanes, Universit\u00e9 de Varsovie, Varsovie 2015)<br>Przemys\u0142aw Szczur, Octave Mirbeau romancier (<em>L\u2019art romanesque d\u2019Octave Mirbeau. Th\u00e8mes et techniques<\/em>, par Anita Staro\u0144, Wydawnictwo Uniwersytetu \u0141\u00f3dzkiego, \u0141\u00f3d\u017a 2013)<br>Witold Ucherek, Au coeur des dictionnaires bilingues (<em>Le dictionnaire bilingue. Un miroir d\u00e9formant?<\/em>, par Dangoul\u0117 Melnikien\u0117, Hermann \u00c9diteurs, Paris 2013)<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-4672897 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-4672897 .ugb-accordion__title{line-height:1em !important}.ugb-4672897 .ugb-accordion__arrow{fill:#ffffff}.ugb-4672897 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-4672897.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXIV (2017) &#8211; &#8220;Amiti\u00e9&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/229\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-9aab792 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-9aab792 .ugb-accordion__title{line-height:1em !important}.ugb-9aab792 .ugb-accordion__arrow{fill:#ffffff}.ugb-9aab792 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-9aab792.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXV (2018) &#8211; &#8220;De la philologie romane aux \u00e9tudes fran\u00e7aises \u2014 \u00e9volution ou rupture ?&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/230\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-80068f9 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-80068f9 .ugb-accordion__title{line-height:1em !important}.ugb-80068f9 .ugb-accordion__arrow{fill:#ffffff}.ugb-80068f9 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-80068f9.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXVI (2019) &#8211; &#8220;Post-s\u00e9cularit\u00e9 : nouvelles perspectives&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/231\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-5c519ac ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-5c519ac .ugb-accordion__title{line-height:1em !important}.ugb-5c519ac .ugb-accordion__arrow{fill:#ffffff}.ugb-5c519ac .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-5c519ac.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXVII (2020) &#8211; &#8220;<strong>Th\u00e9\u00e2tre comme lieu d\u2019affrontement politique et social&nbsp;: du Cid \u00e0 Hernani (1637\u20131830)<\/strong>&#8220;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/780\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-9a5f403 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-9a5f403 .ugb-accordion__title{line-height:1em !important}.ugb-9a5f403 .ugb-accordion__arrow{fill:#ffffff}.ugb-9a5f403 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-9a5f403.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXVIII (2021) &#8211; &#8220;<strong><strong>P\u00e9riph\u00e9ries \u2014 Centres \u2014 Traduction<\/strong><\/strong>&#8220;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/841\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-7ae072e ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-7ae072e .ugb-accordion__title{line-height:1em !important}.ugb-7ae072e .ugb-accordion__arrow{fill:#ffffff}.ugb-7ae072e .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-7ae072e.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXIX (2022) &#8211; &#8220;<strong><strong><strong>Construire le sens. Entre le mot, le texte et le discours<\/strong><\/strong><\/strong>&#8220;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/921\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-2250732 ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-2250732 .ugb-accordion__title{line-height:1em !important}.ugb-2250732 .ugb-accordion__arrow{fill:#ffffff}.ugb-2250732 .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-2250732.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXX (2023) &#8211; &#8220;Comparer les discours. Enjeux, d\u00e9fis, perspectives&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/972\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-ugb-accordion ugb-accordion ugb-b2f53ba ugb-accordion--v2 ugb-accordion--design-plain ugb-accordion--single-open ugb-main-block\" aria-expanded=\"false\"><style>.ugb-b2f53ba .ugb-accordion__title{line-height:1em !important}.ugb-b2f53ba .ugb-accordion__arrow{fill:#ffffff}.ugb-b2f53ba .ugb-accordion__item{border:none !important}@media screen and (min-width:768px){.ugb-b2f53ba.ugb-accordion{margin-top:0px !important;margin-bottom:0px !important;margin-right:0px !important;margin-left:0px !important;padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}}<\/style><div class=\"ugb-inner-block\"><div class=\"ugb-block-content\"><div class=\"ugb-accordion__item\"><div class=\"ugb-accordion__heading\" role=\"button\" tabindex=\"0\"><h3 class=\"ugb-accordion__title\"><strong>Romanica Wratislaviensia LXXI (2024) &#8211; &#8220;La traductologie en fran\u00e7ais : sp\u00e9cificit\u00e9s, inspirations, r\u00e9sonances&#8221;<\/strong><\/h3><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 20 20\" class=\"ugb-accordion__arrow\" width=\"20\" height=\"20\"><path d=\"M16.7 3.3L10 10 3.3 3.4 0 6.7l10 10v-.1l10-9.9z\"><\/path><\/svg><\/div><div class=\"ugb-accordion__content\" role=\"region\"><div class=\"ugb-accordion__content-inner\">\n<p>The full table of contents, along with a downloadable issue, can be found at:<\/p>\n\n\n\n<p><a href=\"https:\/\/wuwr.pl\/rwr\/issue\/view\/1219\">Link<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Full copies (from nr 55, 2008) Tables of contents of the archive issues (from number 51, table of contents with abstracts) Redaktor tomu &#8211; Leon Zawadowski Pa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awski Wroc\u0142aw 1968 (Acta Universitatis Wratislaviensis No 59) Mieczys\u0142awa Sekrecka,&nbsp;Louis-Claude de Saint-Martin, le philosophe inconnu.&nbsp;L\u2019homme et l\u2019\u0153uvre.Redaktor tomu \u2013 Leon ZawadowskiPa\u0144stwowe Wydawnictwo Naukowe \u2013 [&hellip;]<\/p>\n","protected":false},"author":37,"featured_media":0,"parent":34686,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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Sekrecka,&nbsp;Louis-Claude de Saint-Martin, le philosophe inconnu.&nbsp;L\u2019homme et l\u2019\u0153uvre.Redaktor tomu \u2013 Leon ZawadowskiPa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awskiWroc\u0142aw 1968(Acta Universitatis Wratislaviensis Nr 65) Romanica Wratislaviensia III (1968) Redaktor tomu \u2013 Leon ZawadowskiPa\u0144stwowe Wydawnictwo Naukowe \u2013 oddzia\u0142 wroc\u0142awskiWroc\u0142aw 1968(Acta Universitatis Wratislaviensis No 82) Romanica&hellip;<\/p>\n","category_list_v2":"Uncategorized","author_info_v2":{"name":"Izabela Jaraszek","url":"https:\/\/ifr.uwr.edu.pl\/en\/author\/ijaraszek\/"},"comments_num_v2":"0 comments","acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Archive issues - Instytut Filologii Roma\u0144skiej<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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