http://hdl.handle.net/11320/12488 Mon, 01 Jun 2026 17:21:03 GMT 2026-06-01T17:21:03Z http://hdl.handle.net/11320/12538 Tytuł: Emocje, język, literatura Redaktor(rzy): Saniewska, Diana Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12538 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12537 Tytuł: Słowo wstępne Autorzy: Saniewska, Diana Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12537 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12536 Tytuł: Metafory i kolory przeżyć w wierszu Helian Georga Trakla Autorzy: Trzeciakowski, Wiesław Abstrakt: When a translator wants to translate Trakl's poem, he stands in front of the text as if he stood in front of a locked house. Doors and windows are closed. Writing and editing of the poem can be considered to be an invitation into that house. The translator is looking inside through the windows. He is walking around the house, knocking on the door, looking for the entrance. He can see how the house is bullt and consider its size, the number of windows, the color of the shutters. But he does not have a key to the door, he wonders how to break in. TrakI did not write to be understood. His poetry is largely autistic or hermetic, like a mirror image. It is like a universe in itself, a mystery of its own non-conveyable experiences. Poetic language starts with a metaphor, however, from a linguistic point of view - concerning the semantic symbolism - metaphors are also simple and commonly used phrases, (like) e.g. "Iose one's head" (for somebody or something), "to hit home" (which means: the essence). These simple examples show how the metaphor is created and that it consists of figurative meaning built on literalism. Figurative expression is a condensation of meaning. It expresses things that would take a long time to explain or describe. The language has existed before us: we "get into it': and we "get out of it" when we die. The place of language's creativity is the spiritual essence of human, expressed or materialized in a language, and vice-versa: the language shows us the real world and the world of spirituality. H -G. Gadamer stated that language is not one of the ways in which a consciousness communicates with the world. Language is not a tool or an instrument at alI. The translator and interpreter of Trakl's poem can find a way to get into it through the metaphors and colors. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12536 2016-01-01T00:00:00Z http://hdl.handle.net/11320/12535 Tytuł: Emocje w sztuce europejskiej na przykładzie twórczości Gianlorenza Berniniego i Auguste' a Rodina Autorzy: Maciąg, Paweł Abstrakt: At the beginning of this text the author poses the following questions: Do artists hide or display emotional aspects of their lives? And if the emotional sphere is displayed, how is it presented? What means are used to enable the beholder to read the emotions that the artist intended to show? The author analyses the creative work of Gianlorenzo Bernini and Auguste Rodin. Moreover, the author emphasises the fact that Bernini is a type of an artist that has never been forgotten. Already during his lifetime Gianlorenzo Bernini was a symbol of the artistic quarrels, perhaps because of the emotional charge introduced into his sculptures. Bernini did not allow neutrality - some worshipped him as an archmage of the art, and others condemned him as the enemy of temperance and harmony. He was admired by some and loathed by others; however, even those who despised him could not deny his great talent and technical mastery. It is evident that even the life of the artist evoked emotions. Also his majestic and freely wielded chisel introduced permanent emotional expression into his marble figures (e.g. the sculptures depicting the rape of Proserpina and the ecstasy of Saint Teresa). Auguste Rodin was able to feature even the smallest stir of life, the lightest whisper of mystery revealing humble, silent, shivering and unexpected emotion. He was a very complex figure; no wonder then, that his art was the same. Thanks to its unconventional character, his art perfectly fits into the tradition of 19th century Romanticism, which attached great importance to the human emotions related to love, suffering and death. The author analyses the selected works of the sculptor. The individual and highly intriguing style of Rodin was a result of many factors, including great ease and physical proficiency, as well as the ability to combine various elements of form and content. The drawings of the artist are also important for the purposes of the topic raised in the article, especially those works created from 1900 up to the day of his death, indicating that in the late phases of his life, the sculptor seemed to lose control over his own emotions. The works of the two artists from the different eras, described only in a small fragment, show that emotional sphere constitutes an important element of an artistic space. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11320/12535 2016-01-01T00:00:00Z