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Witold Maciejewski

Abstract

The first verses of Genesis have been translated into Swedish and many other languages several times and in quite different ways. The variations presuppose correspondingly distinct images of the very first moments of creation and, in consequence, different spatial coordinates. The article examines the linguistic ground of some of the images, asking questions on the translators’ own creative contribution to our understanding of the Bible. The Swedish monumental Bibel 2000 is the outgoing point of the analysis.

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Thomas Seiler

Abstract

H.C. Andersen’s fairy tale The Ice Maiden is in many ways very modern, especially when we take into account its formal and rhetorical devices. The narrative is not invented by the author as the story is compound of travel journeys, popular readings of the time and so on. Andersen himself indicated some of his sources. In the following paper I would like to discuss the relationship between the fairy tale and the so called „Gebirgserzählung“ from the 18th and 19th century, which was extremely popular at the time. While the core of a “Gebirgserzählung” often consists in a young couple, that after many troubles in the end comes happily together, this is not the case in The Ice Maiden, as Andersen let the protagonist die. It looks as if Andersen would argue in favour of predetermination, based on Christian belief. However, this conclusion is not convincing because it fails to explain the obvious injustice of Rudy’s fate. In what follows I suggest a rhetorical explanation of the protagonist’s death. In such a view Rudy’s death is not to be understood as predetermined, but as a result of Andersen’s fear of his own modernity. What he demonstrates is how an entire story can be the result of other stories, how literature is based on literature. But the author himself seems not to be mature for this insight and that’s the reason why he let the protagonist die.

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Radosław Jakubczyk

Abstract

Guðbrandur Vigfússon, an Icelander born in Galtardalur, Dalasýsla, was without doubt one of the most influential scholars of Old Norse studies of his day. His diplomatic edition of Flateyjarbók, his critical edition of Sturlunga saga, and his anthology An Icelandic Prose Reader are still of use to those without access to the relevant manuscripts. In this essay, I would like to survey his career (in Copenhagen and Oxford) as an editor of Old Norse-Icelandic texts and the legacy that he has left to his successors in the field of Old Norse studies.

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Maria Bonner

Abstract

Communication style on signs in public spaces reflects the sociocultural values of a speech community and provides insight into its preferred mode of communication with unknown communication partners. The linguistic routines present in these texts are part of professional linguistic competence. Starting with an inadequate Danish translation of a sign in a German supermarket, this article examines texts on Danish signs with the purpose of identifying and describing the inventory of patterns for this particular genre. Using Sandig’s text linguistic approach, a corpus of about 200 texts was analyzed with respect to the linguistic patterns for regulating behavior or conveying information - the most prominent linguistic actions on signs. The analysis comprises the grammatical forms, the lexical means to characterize the intended message, mitigation strategies, face saving strategies and irony as well as expressions of emotional involvement by the communicator. The results do not allow a general conclusion about preferred patterns but show the potential range of options. Two observations might be pointed out as salient, namely the use of huske ‘remember’ as presequence for getting attention or as part of the proposition and the relative scarcity of mitigating strategies.

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Andrzej Szubert

Abstract

The term Fr. confixe is not new and was used for the first time in 1982 but at present it is actually only used in German language linguistic literature. Confixes are morphemes of Latin and Greek origin that can form words with stems, affixes and other confixes. The article is an attempt at describing the confix øko- in the Danish language as well as its semantic and morphological properties. The status of confixes is unusual because they are actually bound morphemes with the exception that two confixes can form a word. The use of øko- shows that it is on the way to becoming a free morpheme (root), or perhaps it has become it already.

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Henrik Galberg Jacobsen

Abstract

The paper deals with the relations between Danish pro­nunciation and the so-called ‘normative orthography’, i.e. the official Danish writing rules as laid down by the authorities in orthographic directives since 1889. The specific aim of the paper is to suggest a model for defining and describing the different kinds of normative orthography and their mutual relations. The criteria used for placing the orthographic rules in the model are (a) whether the rule is dependent on pronunciation or not, and (b) whether the resulting orthography (i.e. the prescribed letters) are linguistic signs (inflectional endings, morphemes) or non-signs. The model thus consists of four types of normative orthography, i.e. autonomous expression orthography (Danish: autonom udtryksortografi), autonomous content orthography (Danish: autonom indholdsortografi), mirrored expression orthography (Danish: spejlet udtryksortografi) and mirrored content orthography (Danish: spejlet indholdsortografi). Among these, mirrored expression orthography constitutes the core domain, followed by mirrored content orthography, which has been a growing domain after the 1889-directives, and autonomous content orthography, which is a potentially growing domain.

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Witosław Awedyk

Abstract

This paper is a contribution to the discussion on audiovisual translation (AVT) in cinema and broadcast media on the example of Poland and Norway seen from the perspective of viewers. It aims at establishing possible differences and similarities in the way dominant AVT modes are viewed by younger people in these two countries. In AVT studies Norway has always been classified as a subtitling country while Poland has traditionally been associated with cinema subtitling and television voice-over, of which the latter often baffles AVT scholars. Consequently, one may presume that the audiences in these two countries are likely to have fairly disparate expectations towards AVT modes used in their cinemas and broadcast media. For the purpose of this article a questionnaire has been prepared and the findings arising from the analysis of the submitted replies will be presented here.

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Świętosława – Skandynawistka

O znaczeniu północnego wymiaru w polskiej kulturze i polityce

Hieronim Chojnacki

Abstract

The article deals with Świętosława (also known as Sigrid the Haughty, Sigrid Storråd, Gunhilda), a figure from the early days of Polish statehood and Christianity, member of the Piast dynasty, a queen of Sweden, Denmark and Norway, a mother of the Canute the Great, a (Viking) king of England and finally both Slav and Pole, and British, and Nordic can be approached from various perspectives. The particularly appealing appears however the opportunity to reflect on the Nordic dimension in Polish social thought, culture and politics.

Świętosława faced a challenge of learning the Nordic people, their language, and all this that is included in the programme of Scandinavian studies at the University of Gdansk “from inside”. Her situation resembles the one investigated by Jerzy Szacki in his sociological survey of tradition. It refers to learning oneself an others once the safe boundary is overstepped and the first step towards what is foreign, different and perhaps shocking is made. It relates to the authentic adventure of migration, but also to education and cross-culture communication promoting mutual understanding of differences and to new perspectives for community development. Finally, it concerns the geopolitical implications of northern dimension for the Polish political ethos, culture and education

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Saamskie teatry

Między lokalnością a obcością?

Maria Sibińska

Abstract

Institutional theatres in Sapmi have a relatively brief history but they are based upon traditional cultural heritage (the yoik, the art of storytelling, shamanistic seances). At the same time they are open to impulses from other cultures and theatrical traditions (European and non-European) that contribute to the distinct features of Samic theatrical performance when it comes to texts, the aesthetics of performance, and acting traditions. The article outlines the Samic theatre landscape in general and then proceeds to focus on the multicultural aspects of "Ridn'oaivi ja nieguid oaidni", a performance by the Beaivváš Sami Teáhter. The article also calls attention to the problematic nature of the concept "cultural dialogue" in a situation when the borderlines between individual cultures are no longer obvious, and when it is no longer easy to identify the partners in a dialogue unequivocally.