Despite the tormented national reality, the faith in the future redemption of Poland and the idea of change and purification gave birth in the works of the Polish romantics to the hope of salvation, of the advent of the divine kingdom on Earth. Undoubtedly an idea contributed to the birth of this optimistic vision, that was the conception of a Poland like the “Christ of the nations”, which took hold in the new mystical atmosphere of the early nineteenth century and which was combined with Christian eschatologism, revolutionary aspirations and hopes for the future redemption of history. The apocalyptic and millenarian motifs present in the Divine Comedy undeniably played a part in strengthening the messianic ideas of the romantics: the present from a fertile ground for evil and chaos, through suffering and destruction, became the privileged moment of expiation that prepared the advent of the city of God. The paper aims to analyze some motifs from Dante’s Paradise which inspired some of the most stunning pages of Polish romantic literature.

Tristan et Iseut represents one of the most famous profane literary works of the 12th century. In its original form, the novel was conceived in parte hominum. The first editions were entitled ‘Le Roman de Tristan’ and the plot was articulated around the figure of the male hero. As the work spread throughout courts and villages alike, among ordinary people, attention increasingly shifted from Tristan to Isolde. This work attempts to analyse samples of the various versions of Tristan and Isolde through the figure of the female protagonist. The synchronic and diachronic analysis pays particular attention to aspects related to eros and passion, as useful elements to reveal the broader theme of the status of women in the Middle Ages and its relationship with sexuality.

The health emergency, caused by viruses SARS-CoV-2, has been a major challenge for the teaching of foreign languages and Italian. This essay investigates the main criticalities of distance learning by a representative sample of teachers, in the first phase of the health emergency.

What we intend to do in this short essay is to consider part of the epistolary of Rebora as a literary object, an object that follows the condition of poetry hand in hand (at least in certain moments) and that often goes beyond it precisely at the level of daring formal and semantic. In evaluating the epistolary under the literary aspect, in its creativity so similar to writing in verse, our pourpose is to demonstrate how at the basis of Rebora’s expressiveness (or expressionism) there is a powerful endogenous drive, and that his disorder is psychological rather than cultural, or “stylistic”.

The essay aims to analyse Dostoevsky’s artistic and literary strategies in relation to A Writer’s Diary and the short story A Gentle Spirit. The intention is to demonstrate how Dostoevsky’s artistic processes as a writer and as a publicist are combining, starting from crime news to reveal to the reader, through the path into the abysses of the human soul, the representation of the author's conception.

A widely held view of linguistic researchers claims that collocations constitute a difficult and crucial aspect of vocabulary knowledge. The above-mentioned view is reflected in linguistic theory and practice. Collocations are justly devoted attention by linguists as well as all the individuals who aspire to fluently use a foreign language. Nevertheless, the term itself remains a subject of controversy, since linguistic literature provides various definitions of collocations. The differences between various definitions are related to their contexts as well as purposes for which they are formed. The present article accepts the context-dependence of various definitions of collocations and aims to propose a definition to be employed for the purposes of LSP lexicography.

The aim of the article is to analyse Michel Bernanos’ fantastic series The Other Side of the Mountain from an ecocritical perspective (among others, the literary text as L. Buell’s “green script”). The series first published in the sixties, constitutes an integral part of the well-known Angoisse collection edited by the publishing house Fleuve Noir, and its author is one of the most prominent figures of the "Fleuve Noir school of the fantastic". The innovative character of The Other Side of the Mountain consists of merging emblematic fantastic elements with protoecological ideas, which were, however, popularised by deep ecology only in the nineties.

Professor Tadeusz Kowalski (1889–1948) was in correspondence with scholars from practically all over the world. He had an active interest in the developments of Oriental studies in the Soviet Union. He valued the publications he received from the USSR as well as all contacts he had with Russian researchers. He sought to cooperate with Alexander Samoylovich (1880–1938) – one of the most eminent Turkologists in the Soviet Union. This goal had been partially achieved. The archives of the Polish Academy of Sciences and the Polish Academy of Arts and Sciences in Kraków now hold, catalogued under ref. no. K III-4, j. 174, just three letters from the Russian Turkologist. These materials, despite their small number, are an engrossing source of knowledge on the state of Soviet Turkish studies in the mid-1920s and the Soviet Oriental studies community. As the author managed to determine, these letters are all the more precious as the branch of the archives at the Russian Academy of Sciences in St.-Petersburg, where the legacy of professor Samoylovich is kept, has no copies. Interestingly, there are no surviving copies of the letters from professor Kowalski to the Russian Turkologist. This article aims to analyse the contents of the letters written by Alexander Samoylovich, the Soviet Turkologist, to professor Tadeusz Kowalski, and determine the purpose and direction in which Turkish studies were developing in the USSR in the period described in these sources.

This is a short overview of a Tatar journal Heberçı of 22 (+2 title) pages published in 1952 in Stockholm, the content, and the language features of which were unknown to the specialists up to now. It was called issue number 1. The publication was realized by a group of well-known Tatar writers, scientists and journalists who lived at that time in Sweden as immigrants. The copy of the journal which was at my disposal was received from Stockholm. The study of this bulletin may give new information about the duration of the keeping or not keeping of the immigrants’ mother tongue in a foreign language environment. Also, one can regard it as a source for research of the social status of the immigrants in Europe in the middle of the 20th century. This article will present the following: 1. an overview of the content of the bulletin, 2. an analysis of the language of the journal in comparison with the Modern literary Tatar language, 3. the translation into English of 2 texts from the bulletin and 4. 5 pages of facsimiles of the texts.

This paper analyses two adiaphoric variants in the handwritten tradition of a fabliaux by Jean Bodel, Le vilain de Farbu: barbeoire (ms. B) and papeoire (ms. H). Both couplets d’octosyllabes (the one containing barbeoire in B and the one containing papeoire in H) are coherently integrated into the textual structure to the point of appearing practically interchangeable. But the two variants are less interchangeable: if barbeoire could easily replace papeoire in H, since both have in common the seme of frightening, of terrifying, which is used to connote the woman’s attitude, papeoire would have little meaning in relation to arbalestiax in B, whether it is intended as ‘jester’ or purely as ‘crossbowman’. This leads us to suppose that the original lesson is papeoire, a term that, if not already used to designate the mannequin attested in later Picardy folklore, at least bears the meaning in which we recognise its etymological root, ‘devourer’, an attribute always associated with the figure of the monster. This term was certainly familiar to both the author and the copyist of H, both Picards, but probably not to the copyist of B (or to the copyist of an antigraph at the highest levels of this branch of stemma) who, not understanding it, may have considered it appropriate to intervene in the phrasal system in order to adapt it to a known noun close to the original unintelligible one.