Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ... Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
Edward T. Hall (1971: 130) distinguishes three new aspects concerning (the concept of) space, as it organizes itself as a rigid, semi-rigid or even informal structure. The fixed space creates the perfect atmosphere for the activities of either people or groups of people. It encompasses both the material aspects and the hidden, interiorized structures, which influence the people’s behaviour up to a point. In other words, the buildings stand for a fixed space. However, the way they are built up and laid out is characteristic of the cultural period they represent. The etymological dictionaries define the term inn referring to the Turkish han and to the neoGreek háni, to the Albanian, Bulgarian and Serbian han, with its first usage in the XVII th century in texts belonging to Miron Costin where the inn is described as a “large building with many spacious rooms, built around a large courtyard, a sort of caravansary with high walls and doors plated in metal where the goods and riches were being kept and people found shelter during rough times” (The Short Academic Dictionary). There are the notes of some foreign travellers that help us visiualise what the first Romanian inns looked like. One of those who portrays the traditional inn is the abbot Boskovic, a member of an English ambassador’s entourage: These inns are huge public buildings resembling a large hall erected on four walls with a roof of the same size. The roof, usually, supports itself not only on the walls but also on one, or, more often, on two rows of posts or wooden pillars; sometimes, only on one side, sometimes on both sides of the building, there is a somewhat cobbled-stone pavement running along the wall, of several feet high from the ground, larger than the height of a man, with chimneys here and there; here the travellers sleep and the place where their feet are is the horses’ manger. The other part of the building is for the beasts of burden and stagecoaches but there are also some other inns where each traveller can have his own room... (Djuvara 2007: 36) Even if the inn as a fixed space is not typical of Romanian culture, having been borrowed from the Arabic caravansary, it becomes, little by little, part of our culture, taking on a series of Romanian features. As such, it appears in 76
Trannsylvania (see Ioan Slavici with his The Lucky Mill), in Wallachia (see, for example, I. L. Caragiale where the inn is wrapped up in mystery in the short story entitled At Manjoală’s Inn), while the region of Moldavia has its own famous inn, the perfect place for travelling, revelling and telling stories: Ancuta’s Inn 19 –, the inn which gives the title of a volume written by Mihail Sadoveanu. Some documents from the XVIII th century testify to the inn’s existence (www.hanu-ancutei.ro) which is now situated on the side of one of the major European roads that runs through Romania (E85) and has become popular as a result of Mihail Sadoveanu’s text – AncuŃa’s Inn – which was created in 1928. This inn, always compared to a fortress, is depicted for the reader by the narrator, by some of the characters and even by the inn-keeper herself, AncuŃa. Each of the descriptions gives the reader a unique feeling, one of safeness; it is an ideal place where travellers find shelter for a night or two and leave behind all their worries. The main criterion in defining terms such as “fixed house/shelter” as opposed to the concept of “unsuitable or temporary house” depends on “the time of using/dwelling in the place” (Bidu-Vrânceanu 2005: 162). Open space, as a space of uncomfortable, olden time travelling, presented by the author, has been replaced by the closed space of the inn (a temporary shelter for those who travel), with its always warm welcoming atmosphere. From the very first lines one realizes that “AncuŃa’s Inn was not an inn but a fortress. Surrounded by thick walls here and everywhere and gates overlaid with metal as I have never seen before in my life. So big and safe it was that people, animals and carts could find shelter in there, a place where the petty thieves had not put foot in…” (Voda` s Mare p. 4). It is the old Leonte, the star 19 AncuŃa`s Inn, published in 1928, opened the series of Sadoveanu’s masterpieces. The volume, made out of nine short-stories: Vodă’s Mare, Haralambie, The Dragon, The Fountain between the Poplars, The Other AncuŃa, The County of the Poor, Lipscan, the Pedlar, The Poor Blindman, The Story of Zaharia, The Well Digger, stories which are considered to be parts of a great novel, written at different periods of time. 77
- Page 26 and 27: In general, the higher classes resi
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- Page 31 and 32: Izabela Białek Wrocław A linguist
- Page 33 and 34: On the nature of discourse The expl
- Page 35 and 36: - a system of principles (these pri
- Page 37 and 38: Moreover, based once again on the d
- Page 39 and 40: dialect as a regional or a social s
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- Page 43 and 44: feature constituting the hunting so
- Page 45 and 46: great ignorance and an improper att
- Page 47 and 48: 61. leśniczy forester der Förster
- Page 49 and 50: 123. samura (dzik) ----------------
- Page 51 and 52: appears to be a fashionable hobby.
- Page 53: Wilkoń, Aleksander (1987) Typologi
- Page 56 and 57: poniewaŜ w analizie jakościowej,
- Page 58 and 59: manipulacji. Van Leeuwen (2005) wsk
- Page 60 and 61: Van Dijk, Teun A. (1993) “Princip
- Page 62 and 63: which, as culturally bound linguist
- Page 64 and 65: undertakings. Thus Thore’s death
- Page 66 and 67: “intratextlinguistics”, this wo
- Page 68 and 69: actually a creative projection of a
- Page 70 and 71: Iversen, Mette (2000) From Rune-sto
- Page 72 and 73: 1. Słowa i czyny Jezusa, zwłaszcz
- Page 74 and 75: zapominać - jeśli chce się popra
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- Page 82 and 83: this inn when the old AncuŃa lived
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- Page 122 and 123: Oryginał Przekład polski 1 Przek
- Page 124 and 125: she sat deep in an overstuffed bloo
Edward T. Hall (1971: 130) distinguishes three new aspects concerning<br />
(the concept of) space, as it organizes itself as a rigid, semi-rigid or even<br />
informal structure. The fixed space creates the perfect atmosphere for the<br />
activities of either people or groups of people. It encompasses both the material<br />
aspects and the hidden, interiorized structures, which influence the people’s<br />
behaviour up to a point. In other words, the buildings stand for a fixed space.<br />
However, the way they are built up and laid out is characteristic of the cultural<br />
period they represent.<br />
The etymological dictionaries define the term inn referring to the Turkish<br />
han and to the neoGreek háni, to the Albanian, Bulgarian and Serbian han, with<br />
its first usage in the XVII th century in texts belonging to Miron Costin where the<br />
inn is described as a “large building with many spacious rooms, built around a<br />
large courtyard, a sort of caravansary with high walls and doors plated in metal<br />
where the goods and riches were being kept and people found shelter during<br />
rough times” (The Short Academic Dictionary).<br />
There are the notes of some foreign travellers that help us visiualise what<br />
the first Romanian inns looked like. One of those who portrays the traditional<br />
inn is the abbot Boskovic, a member of an English ambassador’s entourage:<br />
These inns are huge public buildings resembling a large hall erected on<br />
four walls with a roof of the same size. The roof, usually, supports itself<br />
not only on the walls but also on one, or, more often, on two rows of posts<br />
or wooden pillars; sometimes, only on one side, sometimes on both sides<br />
of the building, there is a somewhat cobbled-stone pavement running<br />
along the wall, of several feet high from the ground, larger than the height<br />
of a man, with chimneys here and there; here the travellers sleep and the<br />
place where their feet are is the horses’ manger. The other part of the<br />
building is for the beasts of burden and stagecoaches but there are also<br />
some other inns where each traveller can have his own room... (Djuvara<br />
2007: 36)<br />
Even if the inn as a fixed space is not typical of Romanian culture, having<br />
been borrowed from the Arabic caravansary, it becomes, little by little, part of<br />
our culture, taking on a series of Romanian features. As such, it appears in<br />
76