Może literacko niezbyt finezyjna ale czyta się ją doskonale facet miał ciekawą historię i ją gramofonie opowiedział. Jest przemoc, sex i mnóstwo polskich kreatywnych kombinacji. Powinno chwycić.
Mam także pytanie do Mordechaja czy zna dzieło ono?
https://magazynkreda.pl/kredabook/ Książka środowiska magazynu kreda. Jestem w trakcie lektury. Na podstawie zebranych informacji i przeczytanych kilkudziesięciu stron moim skromnym... ciekawe środowisko, związane m.in z edukacją domową, ale też montessori. Od strony światopoglądowej rodziny/artykuły/treści wydają się bez zarzutu (myślę, że część piszących rodzin w ogóle uczęszcza na Tridentinę). Sama Książka to solidny przekaz wiedzy z wielu obszarów związanych z wychowaniem i nauczaniem i kopalnia pomysłów w odwiecznym pytaniu rodziców quid hoc fecit z tymi dziećmi. Myśl przewodnia to wielka zachęta do mocnego wszechstronnego zaangażowania się rodziców już to w kontakt z naturą, już to w czytanie, kontakt ze sztuką, muzyką. Aurea mediocritas jeśli chodzi o korzystanie z mediów elektronicznych.
W związku spożywczem, że w tytułowym pytaniu jest miejsce na to "co polecacie", pozwolę sobie na odrobinę prywaty i polecenie mej najnowszej produkcyi pt. "Kryzys Kościoła w Polsce" Opis i spis treści są na linkowanej stronie
To też brzmi ciekawie: Pogarda i rasizm wobec kobiet konsekrowanych
jesli kobieta konsekrowana jest innej rasy, to czy pogarda wobec niej jest: a)rasizmem, b)seksizmem/szowinizmem, c)przesladowaniem religijnym?
Zainspirowałam się s. Borkowską - przyznaję - ale trochę tak jest, że siostry są traktowane jakby były osobnym gatunkiem człowieka. Nawiązanie rasowe - zgadzam się - nie najszczęśliwsze określenie. Moja wina.
Skrzypek napisal(a): http://retropress.pl/ kopalnia artykułów z zamierzchłych czasów - głównie międzywojnia
o, poczytałem sobie wywiad z Dżozefem Konradem, który przyleciał w 1914 roku do Krakowa (i musiał zostać na dłużej, bo wybuchła wojna!), że
czuje się Europejczykiem! (a jegoi dzieci, dwóch synów, nie mówią po polsku) natomiast podczas przymusowaej kwarantanny poczytał zaległości; Prusa i Żeromskiego
tak się zawsze zastawnawiałem, że zawsze przy jego nazwisku trzeba niejako na siłę przypominać, że Polak to, a tu taki zonk, on już był z Uni Europejskiej chyba że ktoś zna jego biografię i propolskie poczynania?
Jest coś z danym Dżozefem, że chciał zostać dużym misiem i wyrwać się z tego całego barachła. Służyć chciał wyłącznie w marynarce brytyjskiej, bo była najlepszą na świecie. Pisać chciał po angielsku, żeby mieć wszechświatowego odbiorcę.
I to być może, że wybrał pomiędzy służbą Narodowi, a służbą Ludzkości. A może też uznał, że jego talent jest tak ogromny, że zmitrężenie go na potrzeby jakiegoś zarzyganego kraiku, którego zresztą nie ma, będzie stratą. (Dla kogo?)
Jest jednak i taka teoria, że gdy dany Dżosef zaczynał pisać, żył już od tylu lat poza krajem, że trochę zapomniał polskiego języka w gębie, a nie chciał kaleczyć ojczystej mowy.
Być może teoria naprędce zmyślona, ale coś w tym może być. Mistrzu Słowacki zeznawał swego czasu w listach do matki, że musi co dzień czytać Piotra i Jana Kochanowskich, żeby nie wyjść z literackiej wprawy.
Binięda tez pewnie pisze głównie po angielsku, a poczuwa się do polskości i wiele dla Polski zrobił. Z Konradem rzeczywiście smutna sprawa. Przeczytałem chyba całego nastolatkiem jeszcze będąc, jako polskiego pisarza, ale przecież nie w oryginale tylko tłumaczeniu. Niewiele w nim polskości niestety. Nawet kosmopolityczny Chopin polskim folklorem i krajobrazem, a więc szerzej kulturą i tradycja się inspirował. A Conrad ? Cóż !? Widać jednak Europejczycy istnieją.
Mania napisal(a): Swoją drogą to fenomen, że cudzoziemiec uważany jest w GB za mistrza stylu/bogaty język. Istnieje podobne zjawisko w światowej literaturze?
Najlepsze, że angielski to był jego co najmniej trzeci, a pewnie raczej czwarty język.
Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.
Rudyard Kipling felt that "with a pen in his hand he was first amongst us" but that there was nothing English in Conrad's mentality: "When I am reading him, I always have the impression that I am reading an excellent translation of a foreign author." Cited in Jeffrey Meyers, Joseph Conrad: A Biography, p. 209. Cf. Zdzisław Najder's similar observation: "He was [...] an English writer who grew up in other linguistic and cultural environments. His work can be seen as located in the borderland of auto-translation." Zdzisław Najder, Joseph Conrad: A Life, 2007, p. ix.
Conrad spoke his native Polish and the French language fluently from childhood and only acquired English in his twenties. He chose, however, to write his fiction in his third language, English. He says in his preface to A Personal Record that writing in English was for him "natural", and that the idea of his having made a deliberate choice between English and French, as some had suggested, was in error. He explained that, though he had been familiar with French from childhood, "I would have been afraid to attempt expression in a language so perfectly 'crystallized'."[43]:iv–x In 1915, as Jo Davidson sculpted his bust, Conrad answered his question: "Ah… to write French you have to know it. English is so plastic—if you haven't got a word you need you can make it, but to write French you have to be an artist like Anatole France."[44] These statements, as so often in Conrad's "autobiographical" writings, are subtly disingenuous.[7]:295, passim In 1897 Conrad was visited by a fellow Pole, the philosopher Wincenty Lutosławski, who asked Conrad, "Why don't you write in Polish?" Lutosławski recalled Conrad explaining: "I value our beautiful Polish literature too much to bring into it my clumsy efforts. But for the English my gifts are sufficient and secure my daily bread."[7]:292–93
Conrad wrote in A Personal Record that English was "the speech of my secret choice, of my future, of long friendships, of the deepest affections, of hours of toil and hours of ease, and of solitary hours, too, of books read, of thoughts pursued, of remembered emotions—of my very dreams!"[43]:252 In 1878 Conrad's four-year experience in the French merchant marine had been cut short when the French discovered that he did not have a permit from the Imperial Russian consul to sail with the French.[note 35] This, and some typically disastrous Conradian investments, had left him destitute and had precipitated a suicide attempt. With the concurrence of his mentor-uncle Tadeusz Bobrowski, who had been summoned to Marseilles, Conrad decided to seek employment with the British merchant marine, which did not require Russia's permission.[7]:64–66 Thus began Conrad's sixteen years' seafarer's acquaintance with the British and with the English language.
Had Conrad remained in the Francophone sphere or had he returned to Poland, the son of the Polish poet, playwright, and translator Apollo Korzeniowski—from childhood exposed to Polish and foreign literature, and ambitious to himself become a writer[7]:43–44—he might have ended writing in French or Polish instead of English. Certainly his Uncle Tadeusz thought Conrad might write in Polish; in an 1881 letter he advised his 23-year-old nephew:
As, thank God, you do not forget your Polish... and your writing is not bad, I repeat what I have... written and said before—you would do well to write... for Wędrowiec [The Wanderer] in Warsaw. We have few travelers, and even fewer genuine correspondents: the words of an eyewitness would be of great interest and in time would bring you... money. It would be an exercise in your native tongue—that thread which binds you to your country and countrymen—and finally a tribute to the memory of your father who always wanted to and did serve his country by his pen.[7]:86
In the opinion of some biographers, Conrad's third language, English, remained under the influence of his first two languages—Polish and French. This makes his English seem unusual. Najder writes that:
[H]e was a man of three cultures: Polish, French, and English. Brought up in a Polish family and cultural environment... he learned French as a child, and at the age of less than seventeen went to France, to serve... four years in the French merchant marine. At school he must have learned German, but French remained the language he spoke with greatest fluency (and no foreign accent) until the end of his life. He was well versed in French history and literature, and French novelists were his artistic models. But he wrote all his books in English—the tongue he started to learn at the age of twenty. He was thus an English writer who grew up in other linguistic and cultural environments. His work can be seen as located in the borderland of auto-translation.[7]:ix
Inevitably for a trilingual Polish–French–English-speaker, Conrad's writings occasionally show linguistic spillover: "Franglais" or "Poglish"—the inadvertent use of French or Polish vocabulary, grammar, or syntax in his English writings. In one instance, Najder uses "several slips in vocabulary, typical for Conrad (Gallicisms) and grammar (usually Polonisms)" as part of internal evidence against Conrad's sometime literary collaborator Ford Madox Ford's claim to have written a certain instalment of Conrad's novel Nostromo, for publication in T. P.'s Weekly, on behalf of an ill Conrad.[7]:341–42
The impracticality of working with a language which has long ceased to be one's principal language of daily use is illustrated by Conrad's 1921 attempt at translating into English the Polish physicist, columnist, story-writer, and comedy-writer Bruno Winawer's short play, The Book of Job. Najder writes:
[T]he [play's] language is easy, colloquial, slightly individualized. Particularly Herup and a snobbish Jew, "Bolo" Bendziner, have their characteristic ways of speaking. Conrad, who had had little contact with everyday spoken Polish, simplified the dialogue, left out Herup's scientific expressions, and missed many amusing nuances. The action in the original is quite clearly set in contemporary Warsaw, somewhere between elegant society and the demimonde; this specific cultural setting is lost in the translation. Conrad left out many accents of topical satire in the presentation of the dramatis personae and ignored not only the ungrammatical speech (which might have escaped him) of some characters but even the Jewishness of two of them, Bolo and Mosan.[7]:538–39
As a practical matter, by the time Conrad set about writing fiction, he had little choice but to write in English.[note 36] Poles who accused Conrad of cultural apostasy because he wrote in English instead of Polish[7]:292–95, 463–64 missed the point—as do Anglophones who see, in Conrad's default choice of English as his artistic medium, a testimonial to some sort of innate superiority of the English language.[note 37]
According to Conrad's close friend and literary assistant Richard Curle, the fact of Conrad writing in English was "obviously misleading" because Conrad "is no more completely English in his art than he is in his nationality".[45]:223 Conrad, according to Curle, "could never have written in any other language save the English language....for he would have been dumb in any other language but the English."[45]:227–28
Conrad always retained a strong emotional attachment to his native language. He asked his visiting Polish niece Karola Zagórska, "Will you forgive me that my sons don't speak Polish?"[7]:481 In June 1924, shortly before his death, he apparently expressed a desire that his son John marry a Polish girl and learn Polish, and toyed with the idea of returning for good to now independent Poland.[7]:571
Conrad bridled at being referred to as a Russian or "Slavonic" writer. The only Russian writer he admired was Ivan Turgenev.[7]:576 "The critics," he wrote an acquaintance on 31 January 1924, six months before his death, "detected in me a new note and as, just when I began to write, they had discovered the existence of Russian authors, they stuck that label on me under the name of Slavonism. What I venture to say is that it would have been more just to charge me at most with Polonism."[7]:551 However, though Conrad protested that Dostoyevsky was "too Russian for me" and that Russian literature generally was "repugnant to me hereditarily and individually",[46] Under Western Eyes is viewed as Conrad's response to the themes explored in Dostoyevsky's Crime and Punishment.[47]
Rudyard Kipling felt that "with a pen in his hand he was first amongst us" but that there was nothing English in Conrad's mentality: "When I am reading him, I always have the impression that I am reading an excellent translation of a foreign author."
Maria napisal(a): I niechby ten tekst dotarł chociaż do połowy z tej liczby księży, którzy częstują wiernych opłatkiem a nie Ciałem Chrystusa... U nas, w Polsce. Marzenie.
(góglając za czerwcem (owadem, barwnikiem) odkopał mnie się ten wątek i powyższy wpis)
2. opłatek (opłat) jest całkowicie ortodoksyjnym słowem na określenie chleba-które-się-stało Ciałem Jezusa w sakramencie eucharystii
jest także równoważne z prawosławnym słowem proskura
opłatek = ofiarowany, dar ofiarny, tu: chleb ofiarny z łacińskiego oblatum -> (przez czeski) ->opłatek
proskura = ofiara, tu: chleb ofiarny z greckiego prosfora -> ros. proskura
choć katecheza przypominająca czym opłatek jest (czyli Kim) jak najbardziej pożądana
Komentarz
Może literacko niezbyt finezyjna ale czyta się ją doskonale facet miał ciekawą historię i ją gramofonie opowiedział.
Jest przemoc, sex i mnóstwo polskich kreatywnych kombinacji.
Powinno chwycić.
Mam także pytanie do Mordechaja czy zna dzieło ono?
Książka środowiska magazynu kreda. Jestem w trakcie lektury. Na podstawie zebranych informacji i przeczytanych kilkudziesięciu stron moim skromnym... ciekawe środowisko, związane m.in z edukacją domową, ale też montessori. Od strony światopoglądowej rodziny/artykuły/treści wydają się bez zarzutu (myślę, że część piszących rodzin w ogóle uczęszcza na Tridentinę). Sama Książka to solidny przekaz wiedzy z wielu obszarów związanych z wychowaniem i nauczaniem i kopalnia pomysłów w odwiecznym pytaniu rodziców quid hoc fecit z tymi dziećmi. Myśl przewodnia to wielka zachęta do mocnego wszechstronnego zaangażowania się rodziców już to w kontakt z naturą, już to w czytanie, kontakt ze sztuką, muzyką. Aurea mediocritas jeśli chodzi o korzystanie z mediów elektronicznych.
numer jest o spirytuałach, ale pod koniec przeciekawe dwa tłumaczenia wiersza P.Celana "Fuga śmierci" i rozważania o tłumaczeniu A. Libery.
polecam
Opis i spis treści są na linkowanej stronie
jesli kobieta konsekrowana jest innej rasy, to czy pogarda wobec niej jest:
a)rasizmem,
b)seksizmem/szowinizmem,
c)przesladowaniem religijnym?
czuje się Europejczykiem! (a jegoi dzieci, dwóch synów, nie mówią po polsku)
natomiast podczas przymusowaej kwarantanny poczytał zaległości; Prusa i Żeromskiego
tak się zawsze zastawnawiałem, że zawsze przy jego nazwisku trzeba niejako na siłę przypominać, że Polak to, a tu taki zonk, on już był z Uni Europejskiej
chyba że ktoś zna jego biografię i propolskie poczynania?
Stare pytanie " ckm? "
I w drugie strone też
o Conrada pytam
a dziś jeśli słyszę "jestem Europejczykiem", zwykle to jest w opozycji do "jestem Polakiem"
I to być może, że wybrał pomiędzy służbą Narodowi, a służbą Ludzkości. A może też uznał, że jego talent jest tak ogromny, że zmitrężenie go na potrzeby jakiegoś zarzyganego kraiku, którego zresztą nie ma, będzie stratą. (Dla kogo?)
Być może teoria naprędce zmyślona, ale coś w tym może być. Mistrzu Słowacki zeznawał swego czasu w listach do matki, że musi co dzień czytać Piotra i Jana Kochanowskich, żeby nie wyjść z literackiej wprawy.
Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.
Rudyard Kipling felt that "with a pen in his hand he was first amongst us" but that there was nothing English in Conrad's mentality: "When I am reading him, I always have the impression that I am reading an excellent translation of a foreign author." Cited in Jeffrey Meyers, Joseph Conrad: A Biography, p. 209. Cf. Zdzisław Najder's similar observation: "He was [...] an English writer who grew up in other linguistic and cultural environments. His work can be seen as located in the borderland of auto-translation." Zdzisław Najder, Joseph Conrad: A Life, 2007, p. ix.
Conrad spoke his native Polish and the French language fluently from childhood and only acquired English in his twenties. He chose, however, to write his fiction in his third language, English. He says in his preface to A Personal Record that writing in English was for him "natural", and that the idea of his having made a deliberate choice between English and French, as some had suggested, was in error. He explained that, though he had been familiar with French from childhood, "I would have been afraid to attempt expression in a language so perfectly 'crystallized'."[43]:iv–x In 1915, as Jo Davidson sculpted his bust, Conrad answered his question: "Ah… to write French you have to know it. English is so plastic—if you haven't got a word you need you can make it, but to write French you have to be an artist like Anatole France."[44] These statements, as so often in Conrad's "autobiographical" writings, are subtly disingenuous.[7]:295, passim In 1897 Conrad was visited by a fellow Pole, the philosopher Wincenty Lutosławski, who asked Conrad, "Why don't you write in Polish?" Lutosławski recalled Conrad explaining: "I value our beautiful Polish literature too much to bring into it my clumsy efforts. But for the English my gifts are sufficient and secure my daily bread."[7]:292–93
Conrad wrote in A Personal Record that English was "the speech of my secret choice, of my future, of long friendships, of the deepest affections, of hours of toil and hours of ease, and of solitary hours, too, of books read, of thoughts pursued, of remembered emotions—of my very dreams!"[43]:252 In 1878 Conrad's four-year experience in the French merchant marine had been cut short when the French discovered that he did not have a permit from the Imperial Russian consul to sail with the French.[note 35] This, and some typically disastrous Conradian investments, had left him destitute and had precipitated a suicide attempt. With the concurrence of his mentor-uncle Tadeusz Bobrowski, who had been summoned to Marseilles, Conrad decided to seek employment with the British merchant marine, which did not require Russia's permission.[7]:64–66 Thus began Conrad's sixteen years' seafarer's acquaintance with the British and with the English language.
Had Conrad remained in the Francophone sphere or had he returned to Poland, the son of the Polish poet, playwright, and translator Apollo Korzeniowski—from childhood exposed to Polish and foreign literature, and ambitious to himself become a writer[7]:43–44—he might have ended writing in French or Polish instead of English. Certainly his Uncle Tadeusz thought Conrad might write in Polish; in an 1881 letter he advised his 23-year-old nephew:
As, thank God, you do not forget your Polish... and your writing is not bad, I repeat what I have... written and said before—you would do well to write... for Wędrowiec [The Wanderer] in Warsaw. We have few travelers, and even fewer genuine correspondents: the words of an eyewitness would be of great interest and in time would bring you... money. It would be an exercise in your native tongue—that thread which binds you to your country and countrymen—and finally a tribute to the memory of your father who always wanted to and did serve his country by his pen.[7]:86
In the opinion of some biographers, Conrad's third language, English, remained under the influence of his first two languages—Polish and French. This makes his English seem unusual. Najder writes that:
[H]e was a man of three cultures: Polish, French, and English. Brought up in a Polish family and cultural environment... he learned French as a child, and at the age of less than seventeen went to France, to serve... four years in the French merchant marine. At school he must have learned German, but French remained the language he spoke with greatest fluency (and no foreign accent) until the end of his life. He was well versed in French history and literature, and French novelists were his artistic models. But he wrote all his books in English—the tongue he started to learn at the age of twenty. He was thus an English writer who grew up in other linguistic and cultural environments. His work can be seen as located in the borderland of auto-translation.[7]:ix
Inevitably for a trilingual Polish–French–English-speaker, Conrad's writings occasionally show linguistic spillover: "Franglais" or "Poglish"—the inadvertent use of French or Polish vocabulary, grammar, or syntax in his English writings. In one instance, Najder uses "several slips in vocabulary, typical for Conrad (Gallicisms) and grammar (usually Polonisms)" as part of internal evidence against Conrad's sometime literary collaborator Ford Madox Ford's claim to have written a certain instalment of Conrad's novel Nostromo, for publication in T. P.'s Weekly, on behalf of an ill Conrad.[7]:341–42
The impracticality of working with a language which has long ceased to be one's principal language of daily use is illustrated by Conrad's 1921 attempt at translating into English the Polish physicist, columnist, story-writer, and comedy-writer Bruno Winawer's short play, The Book of Job. Najder writes:
[T]he [play's] language is easy, colloquial, slightly individualized. Particularly Herup and a snobbish Jew, "Bolo" Bendziner, have their characteristic ways of speaking. Conrad, who had had little contact with everyday spoken Polish, simplified the dialogue, left out Herup's scientific expressions, and missed many amusing nuances. The action in the original is quite clearly set in contemporary Warsaw, somewhere between elegant society and the demimonde; this specific cultural setting is lost in the translation. Conrad left out many accents of topical satire in the presentation of the dramatis personae and ignored not only the ungrammatical speech (which might have escaped him) of some characters but even the Jewishness of two of them, Bolo and Mosan.[7]:538–39
As a practical matter, by the time Conrad set about writing fiction, he had little choice but to write in English.[note 36] Poles who accused Conrad of cultural apostasy because he wrote in English instead of Polish[7]:292–95, 463–64 missed the point—as do Anglophones who see, in Conrad's default choice of English as his artistic medium, a testimonial to some sort of innate superiority of the English language.[note 37]
According to Conrad's close friend and literary assistant Richard Curle, the fact of Conrad writing in English was "obviously misleading" because Conrad "is no more completely English in his art than he is in his nationality".[45]:223 Conrad, according to Curle, "could never have written in any other language save the English language....for he would have been dumb in any other language but the English."[45]:227–28
Conrad always retained a strong emotional attachment to his native language. He asked his visiting Polish niece Karola Zagórska, "Will you forgive me that my sons don't speak Polish?"[7]:481 In June 1924, shortly before his death, he apparently expressed a desire that his son John marry a Polish girl and learn Polish, and toyed with the idea of returning for good to now independent Poland.[7]:571
Conrad bridled at being referred to as a Russian or "Slavonic" writer. The only Russian writer he admired was Ivan Turgenev.[7]:576 "The critics," he wrote an acquaintance on 31 January 1924, six months before his death, "detected in me a new note and as, just when I began to write, they had discovered the existence of Russian authors, they stuck that label on me under the name of Slavonism. What I venture to say is that it would have been more just to charge me at most with Polonism."[7]:551 However, though Conrad protested that Dostoyevsky was "too Russian for me" and that Russian literature generally was "repugnant to me hereditarily and individually",[46] Under Western Eyes is viewed as Conrad's response to the themes explored in Dostoyevsky's Crime and Punishment.[47]
2.
opłatek (opłat)
jest całkowicie ortodoksyjnym słowem na określenie chleba-które-się-stało Ciałem Jezusa w sakramencie eucharystii
jest także równoważne z prawosławnym słowem proskura
opłatek = ofiarowany, dar ofiarny, tu: chleb ofiarny
z łacińskiego oblatum -> (przez czeski) ->opłatek
proskura = ofiara, tu: chleb ofiarny
z greckiego prosfora -> ros. proskura
choć katecheza przypominająca czym opłatek jest (czyli Kim) jak najbardziej pożądana
1.
(częstują) a ktoś tak mówi?
raczej karmią!