Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ... Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
have long chats while drinking some wine from the region of Walachia. Relishing a small jar of good drink we listend to stories that once took place. […] The old Leonte … looked around so as to make sure the pot of wine was at hand” (The Dragon p. 23). Thus, AncuŃa’s Inn is kind of a public market, an “agora”, a meeting place where people come and spin old yarns. The petty boyar captain Neculai Isac will begin his story about “a happening beyond belief” only after “we will have a glass of wine and I will tell everything you do not know” (The Fountain between the Poplars p. 39). One establishes a delimitation of the space and a ritual time by means of specific gestures and answers (Lardellier 2003: 77). The travellers who take part in the process of story telling where the word is a magic wand are both listeners and (spect)a(c)tors at the same time, all taking place in a particular atmosphere, that of AncuŃa’s Inn. Each of those present there feels the need to share with the others the memories and feelings caused by an event in their lives, much more wonderful and more terrifying than the one told by IoniŃă, the equerry. The cosy intimacy and safety of the closed space does not come only from the space itself, the way it is organized, but even more from the relations that establish themselves between those present sharing the same space. The first relevant element contributing to the warm atmosphere is the fire, a fire permanently tended. The blaze of the fire brings light and red heat as if trying to overcome the darkness and coldness of the night entertaining the source of warmth of an always welcoming space. The stories and the confessions made in front of the fire come to confirm the existence of a psychological intimacy: “And when the Sun went shining to the other part of the globe and there were no barriers between us, it was only the flame of the fire shedding on the stone walls, the obscurity of the rooms with their doors opened, and the latticed windows” […] “The eye-browed AncuŃa was blowing up the fire in the old hold ashes corner” (The Fountain between the Poplars p. 37). The flame of the fire in the fireplace replaces the solar light and although this artificial light is spread 80
and split up all over it remains the symbol of a privacy, bestowing onto the things around a special value, “giving birth” to new forms and re-inventing presences (Baudrillard 1996: 15). One can identify a kind of informal interpersonal communication situation inside the space of the inn. Those who come to find shelter here become friends with one another, through the act of story-telling, of letting words flow freely, without having to follow rules that have been established before. Each of those present here feel the need to communicate with the others, to make themselves heard, to impress the audience with an unbelievable, unheard-of happening, by evoking moments that took place long ago, by recreating, through skilled words, the portrait of some people who were travellers and revellers at this inn and who, although passed away, have remained vivid in the others’ memories. “And while waiting for AncuŃa to bring us new small jars with fresh wine we began to exchange a few words with one another”. Some of the character-travellers are used to living in stillness, alone, in isolation. The hermit Gherman, who came from his hermitage in the mountains and who used to spend his days praying without any companion to speak with, besides God, joined the other story– tellers and, fascinated by the stories he heard of, he “broke the silence and let his words unweave the story” (Haralambie p. 12) about the tragic destiny of the outlaw Haralambie. In other words, AncuŃa’s Inn is a place for telling and revelling. The warm, intimate atmosphere the travellers find in here circumscribes the time of some stories which happened long ago, a time of either memories of their youth or of unrequited love stories. The equerry IoniŃă is obsessed with the idea of the ephemeral nature of the human being, the people being only revellers halting at this inn, or travellers through life: “I am but a traveller, he said, raising his small jar”(Voda`s Mare p. 5). It is as if the flames of the fire in the hearth, bring back to life all their memories and stories of the past. Many of the happenings that took place in former times “find their roots, their end or even took place here at 81
- 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
- Page 41 and 42: variation of language, namely, the
- 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
- Page 76 and 77: Edward T. Hall (1971: 130) distingu
- Page 78 and 79: gazer, saying that one can never fi
- Page 82 and 83: this inn when the old AncuŃa lived
- Page 84 and 85: unwelcoming and mysterious space wh
- Page 86 and 87: The pub is another sociopetal space
- Page 88 and 89: much in spite of its shattered aspe
- Page 90 and 91: The domestic, intimate space become
- Page 92 and 93: The Dragon in Sadoveanu, Mihail (19
- Page 94 and 95: Material and method I will first re
- Page 96 and 97: guide to culture”, “vocabulary
- Page 98 and 99: a-i fi dor de Ńară to be homesick
- Page 100 and 101: Dor is most commonly associated wit
- Page 102 and 103: The meaning of “pain” is in (4)
- Page 104 and 105: hierarchical perspective, this mean
- Page 106 and 107: also DO, SAY and MOVE, dor being, o
- Page 108 and 109: to define dor in NSM terms. The NSM
- Page 110 and 111: X feels something sometimes a perso
- Page 112 and 113: if I did this, I would feel somethi
- Page 114 and 115: 114
- Page 116 and 117: Rozpatrywana po prostu jako powieś
- Page 118 and 119: Słownictwo erotyczne w języku pol
- Page 120 and 121: PoŜądanie Kategoria ta tematyczni
- Page 122 and 123: Oryginał Przekład polski 1 Przek
- Page 124 and 125: she sat deep in an overstuffed bloo
- Page 126 and 127: A delinquent Występna nimfetka [wy
- Page 128 and 129: Dąbrowska, Anna (2002) „Stereoty
and split up all over it remains the symbol of a privacy, bestowing onto the<br />
things around a special value, “giving birth” to new forms and re-inventing<br />
presences (Baudrillard 1996: 15).<br />
One can identify a kind of informal interpersonal communication situation<br />
inside the space of the inn. Those who come to find shelter here become friends<br />
with one another, through the act of story-telling, of letting words flow freely,<br />
without having to follow rules that have been established before. Each of those<br />
present here feel the need to communicate with the others, to make themselves<br />
heard, to impress the audience with an unbelievable, unheard-of happening, by<br />
evoking moments that took place long ago, by recreating, through skilled words,<br />
the portrait of some people who were travellers and revellers at this inn and<br />
who, although passed away, have remained vivid in the others’ memories. “And<br />
while waiting for AncuŃa to bring us new small jars with fresh wine we began to<br />
exchange a few words with one another”. Some of the character-travellers are<br />
used to living in stillness, alone, in isolation. The hermit Gherman, who came<br />
from his hermitage in the mountains and who used to spend his days praying<br />
without any companion to speak with, besides God, joined the other story–<br />
tellers and, fascinated by the stories he heard of, he “broke the silence and let<br />
his words unweave the story” (Haralambie p. 12) about the tragic destiny of the<br />
outlaw Haralambie.<br />
In other words, AncuŃa’s Inn is a place for telling and revelling. The<br />
warm, intimate atmosphere the travellers find in here circumscribes the time of<br />
some stories which happened long ago, a time of either memories of their youth<br />
or of unrequited love stories. The equerry IoniŃă is obsessed with the idea of the<br />
ephemeral nature of the human being, the people being only revellers halting at<br />
this inn, or travellers through life: “I am but a traveller, he said, raising his small<br />
jar”(Voda`s Mare p. 5). It is as if the flames of the fire in the hearth, bring back<br />
to life all their memories and stories of the past. Many of the happenings that<br />
took place in former times “find their roots, their end or even took place here at<br />
81