Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ... Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
much in spite of its shattered aspect as it is there, where those he loves from the depth of his heart, are: his wife and his children. For an ordinary being, a house is like a shell (Bachellard 2005: 41). If the house is as impressive as a palace - “next to the accacia trees that guard our palace” – it does not mean it is a sociopetal space. For the young boyard in the Boyard’s Sin short–story, his father’s house is not a cosy place: “I found nothing to do in that big, white, empty house” […] “ I did not find anything to do and sad was I when I went to bed in that empty house”. This is the reason why he goes to pubs in the evening, to find company: “I came upon a gloomy empty pub which once upon a time was crowded now touched by the silence of seclusion” (Boyard’s Sin p. 186) and the loneliness of the young man’s heart in the attempt of doing something. As he walks along searching for a pub, he reaches the place of Sandu Popescu, a former artillery caporal who he finds the best person to go hunting with; it is Marin, the hunter. Since prehistoric times, man has lived adapting himself to two types of space: the open space which sometimes exposes him to danger, and the closed spaces which suffocates him. When he feels humbled, the man turns his back on civilization and searches for a refuge. It is that very moment when the open space opens its arms to receive and comfort him. This is the case with some of Sadoveanu’s characters who feel offended by the cruelty of some of their fellows and escape from the civilized world to find shelter in the middle of the wild world. However, the new passion for hunting of NiculiŃă, the boyard, will not be shared by all his acquaintances. He listens to Marin, a skilled hunter and a morose man, who changed the real world for the wild one after a former boyard insulted his wife and his family. The hunting paths take the young boyard to SărăŃeni, reaching Marin’s house, where he meets his daughter Chiva, with a feeling of amazement and joy: “Turning around, all of a sudden, I saw a light gleaming on the other side. It was flickering like a red star. There is Marin’s house. A low house, with a thatched roof that could hardly be seen in the dark. 88
There was a small hinged window and a faint light inside. The front yard was clean”(Boyard’s Sin p. 204). The light from the window stands for the eye of the house. A lamp is waiting at the window. It is as if the house is waiting too. The lamp is a sign of long waiting. Through the light coming from the far away house, the house sees, watches over, supervises and waits…. The light brings the house to life. It is an eye watching over us in the dark night. Just as the light of the lighthouse guides the seaman, the light coming from the small hinged window of the shattered house, resembling a hut, whose thatched roof induces the idea of poverty, guides the young boyard who got lost in the foggy meadowland. Once in the house, the boyard NiculiŃă is struck by the innocent beauty of the girl who makes him thrill with love for the first time: “All her fierce youth, aglow with swift love, emerging from the dark depths of her soul, roused in me a feeling like the surge of a wave when I looked at the girl who stood in front of me smiling” (Boyard’s Sin p. 205).The walls of the house protect the hearth, seen as a cosmic centre. In the old archaic times the hearth was considered to be the central point within the house space, where the fire symbolism remained unaltered. From the inside of the house, where security governs, to its outside where the fear of the unknown is everywhere, a real universe takes shape. The fears of the boyard in The Bull’s Inn short-story who falls asleep in that empty room when worn out with fear and tiredness disappear the very moment he wakes up in the room where the fire was burning in the hearth, also called fireplace: “When I woke up the fire was flickering in the fireplace” (The Bull’s Inn p. 69). Furthermore, at Marin, the skilled hunter’s low and shattered house, the fireplace remains the central point of the house: “… the light brought life in the low ceiling room and the blazes of some brushwood died away in the fireplace.[…] And the love which now found shelter in my heart with its new born thrills beset me as the blazes of a pyre” (The Boyard’s Sin p. 207). The closed, secure space of the house can be divided into many other small units, some micro-spaces where the intimate climate grows in intensity. 89
- 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 80 and 81: have long chats while drinking some
- 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 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
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- Page 98 and 99: a-i fi dor de Ńară to be homesick
- Page 100 and 101: Dor is most commonly associated wit
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- 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
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- 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
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- Page 136 and 137: Speaker Sex Nationality Age Educati
There was a small hinged window and a faint light inside. The front yard was<br />
clean”(Boyard’s Sin p. 204). The light from the window stands for the eye of the<br />
house. A lamp is waiting at the window. It is as if the house is waiting too. The<br />
lamp is a sign of long waiting. Through the light coming from the far away<br />
house, the house sees, watches over, supervises and waits…. The light brings the<br />
house to life. It is an eye watching over us in the dark night. Just as the light of<br />
the lighthouse guides the seaman, the light coming from the small hinged<br />
window of the shattered house, resembling a hut, whose thatched roof induces<br />
the idea of poverty, guides the young boyard who got lost in the foggy<br />
meadowland. Once in the house, the boyard NiculiŃă is struck by the innocent<br />
beauty of the girl who makes him thrill with love for the first time: “All her<br />
fierce youth, aglow with swift love, emerging from the dark depths of her soul,<br />
roused in me a feeling like the surge of a wave when I looked at the girl who<br />
stood in front of me smiling” (Boyard’s Sin p. 205).The walls of the house<br />
protect the hearth, seen as a cosmic centre. In the old archaic times the hearth<br />
was considered to be the central point within the house space, where the fire<br />
symbolism remained unaltered. From the inside of the house, where security<br />
governs, to its outside where the fear of the unknown is everywhere, a real<br />
universe takes shape. The fears of the boyard in The Bull’s Inn short-story who<br />
falls asleep in that empty room when worn out with fear and tiredness disappear<br />
the very moment he wakes up in the room where the fire was burning in the<br />
hearth, also called fireplace: “When I woke up the fire was flickering in the<br />
fireplace” (The Bull’s Inn p. 69). Furthermore, at Marin, the skilled hunter’s low<br />
and shattered house, the fireplace remains the central point of the house: “… the<br />
light brought life in the low ceiling room and the blazes of some brushwood died<br />
away in the fireplace.[…] And the love which now found shelter in my heart<br />
with its new born thrills beset me as the blazes of a pyre” (The Boyard’s Sin p.<br />
207). The closed, secure space of the house can be divided into many other<br />
small units, some micro-spaces where the intimate climate grows in intensity.<br />
89
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