OPEN Repository
Welcome to OPEN - the Repository of Open Scientific Publications, run by the Interdisciplinary Centre for Mathematical and Computational Modelling, University of Warsaw, previously operating as the CeON Repository. The Repository enables Polish researchers from all fields to openly share their articles, books, conference materials, reports, doctoral theses, and other scientific texts.
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23221 archived items
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Recent Submissions
Item
„Elegia na śmierć żony” Kakinomoto no Hitomaro a problem przekładalności poezji starojapońskiej
(Księgarnia Akademicka, 2003) Olszewski, Krzysztof; Uniwersytet Jagielloński
The paper is a detailed analysis of two translations (English and Russian) of Kakinomoto no Hitomaro's (660-710) "The Elegy for My Dead Wife" (included in the first imperial anthology of Japanese poetry, "Man'yoshu"). This analysis focuses on the problem whether to avoid translating the so-called 'pillow-words' (makura-kotoba) - fixed epithets, which were one of the most important rhetorical figures in the old Japanese poetry. Many specialists find them conventional and thus lacking any important information. However, in spite of their conventionality, makura-kotoba play often an important role in constructing of the set of deep allusions within the structure of the poem.
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Metafory ‘odbicia w wodzie’ jako klucz do odczytania „Pamiętnika z Tosy” Ki no Tsurayukiego. Kreowanie fikcji literackiej w utworze a problem przekładu
(Wydawnictwo Oddziału Polskiej Akademii Nauk, 2002) Olszewski, Krzysztof; Uniwersytet Jagielloński
The aim of this paper is to attempt a new interpretation of one of the most important works from the classical Japanese literature - "The Tosa Diary" by Ki no Tsurayuki. I agree with the Takei Mutsuo's thesis that "The Tosa Diary" was a precursor work for the whole trend of memoirs' literature in medieval Japan and that this diary was written to reconcile two completely different poetics: an anthology of Japanese poetry and private Chinese diary - genres which were so popular among the aristocracy in Heiankyo. Such an origin of Ki no Tsurayuki's work does not explain, however, all the problems concerning the interpretation of the text, and, consequently, its translation. The adaptation of Chinese ideograms for the spoken Japanese language initiated the process of gradual sinization of that language and caused the necessity of continuous, intersemiotic translations of native spoken language to its written, sinified form. For the majority of early Japanese poets, Chinese was not a separate language system, but rather a subsystem - an open collection of ideograms, words, expressions, idioms, or quotations from Chinese literature, which gradually entered the native language.
Item
O wpływie kobiecej estetyki na rozwój wczesnej japońskiej poezji waka
(Wydawnictwo Uniwersytetu Śląskiego, 2005) Olszewski, Krzysztof; Uniwersytet Jagielloński
The article is an attempt at presenting the development of native Japanese poetry at the turn of Nara and Heian epochs through the influence of the so-called "after-night letters" (intimate erotic poems circulated solely in the private correspondence of aristocrats and ladies-in-waiting) on the official court literature. In the period separating the edition of two first anthologies of Japanese poetry - "Man'yoshu" (The Collection of Ten Thousand Leaves) and "Kokinwakashu" (The Collection of Ancient and Modern Songs) there was a marked change in the mode of emotional expression of the speaking subject and in the use of poetic tropes. Even though in the intervening years the Yamato court came under the considerable Chinese influence, the feminine aesthetics, so characteristic of the "after-night letters", gradually became part of waka poetry as the latter grew in popularity, and eventually found expression in the manifesto of the new poetics - Ki no Tsurayuki's "Kanajo". Therefore, it was the erotic poems written by ladies-in-waiting that saved Japanese poetry from sinization, while also giving it - in contrast to vividly expressive elegies from the "Man'yoshu" collection - a new inflection through the application of subtle allusions and puns, often used earlier in private, intimate correspondence.
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