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Francesc Eiximenis, a Catalan Franciscan and writer who lived in the 14th century, is not very well known today outside the narrow circle of Catalan researchers of the Middle Ages, even though he was a very popular author at the time and was eagerly translated into other languages. He was most enthusiastic about using his native language, i.e. Catalan, in which he wrote treatises on the truths of faith, theological questions, and social and political issues. The purpose of this study is to introduce Eiximenis and to present a Polish translation of an excerpt from the first book of his angelological treatise entitled Llibre dels àngels (Book of Angels). Rozalia Sasor's translation, together with an initial critical commentary on the text, is the first contemporary edition of this part of the treatise. The paper, which is at the same time an introduction to the translation, is divided into four sections. In the first one, Sasor briefly discusses the state of knowledge about Francesc Eiximeni in Poland; in the second one, she presents his biography with a special emphasis on the time of his studies and his theological and philosophical interests, and in the third she characterises the Llibre del àngels and the circumstances surrounding the creation of the work. It is worth noting at this point that the aforementioned characteristics focus on the properties of the language of the original, which contributed to the success of Llibre dels àngels among readers; it also takes up the previously undiscussed problem of the sources of the treatise. The paper ends with a comment on the Polish translation, in which Sasor explains how she prepared the source text for translation as there is no contemporary critical edition of the first three books of Llibre dels àngels; she also discusses the translation strategy she adopted. The whole publication is completed by a translation of selected excerpts from the first part of Llibre dels àngels, i.e. chapters 1-7, 9, 14, and 16-17, with critical commentary. [ABSTRACT FROM AUTHOR]

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The present paper focuses on Iura Masoviae Terrestria -- an unfinished collection of sources for Masovian law. Work on the volume started back in the latter half of the 20th century. Back in 1956, Professor Jakub Sawicki obtained financial support from the Polish Academy of Sciences [PAN] to produce the publication. These funds allowed him to assemble a project team and begin research in the archives. The main goal of the project was to publish all general individual public acts of Masovian law from a period beginning in the 13th century through 1577, i.e. up to the introduction of Polish law in the former Duchy of Masovia. Despite an advanced level of preparation, financial support for the project was withheld in 1958, and progress on its preparation was stopped for a decade. Work was resumed in 1969 with plans for publishing the sources of Masovian law in five volumes, the last with indexes and translation into Polish of the most important Latin acts of the Masovian law. Finally, the first three volumes were published in 1972-1974. Due to health problems and ultimately the passing of Prof. Sawicki, the fourth volume, containing the acts from the 1541-1577 period was never published. Materials for its completion are preserved in Prof. Sawicki's papers in PAN archives. They are to a great extent ready for publishing, although some additional research seems inevitable. The current paper presents perspectives for completing the fourth volume, as well as for possible continuation of the completion of Iura Masoviae Terrestria. [ABSTRACT FROM AUTHOR]

This text is a presentation of a so far unknown work by Aleksander Wat found in the archive of the poet in the Beinecke Rare Book and Manuscript Library at Yale University. It is a part of Alexander Wat Papers with the signature GEN MSS 705 (Box 22 Folder 467). The work was entitled Przypowieść o wróblu, chłopie i wilku (Parable of a Sparrow, a Peasant and a Wolf) and was written as a libretto to the musical composition of Nicolas Nabokov entitled The Parable of the Sparrow. The Russian version of the song, its transcription, and literal and poetic translations into Polish are included in the paper. Philological and historical literary commentaries complement the presentation. [ABSTRACT FROM AUTHOR]

Despite a massive amount of archival material on Nazi concentration camps, references to camp translators and interpreters are random, brief and laconic. Usually they consist of dry facts as related in narratives of the Nazi regime victims. In the present paper, these records will be confronted with the picture of Marta Weiss, a fictional camp interpreter presented in the 1948 docudrama The Last Stage by the Polish film director Wanda Jakubowska, herself a former prisoner of the concentration camp in Birkenau. To this day The Last Stage remains a "definitive film about Auschwitz, a prototype for future Holocaust cinematic narratives." It is also called "the mother of all Holocaust films", as it establishes several images easily discernible in later narratives on the Holocaust: realistic images of the camp; passionate moralistic appeal; and clear divisions between the victims and the oppressors. At the same time The Last Stage is considered to be an important work from the perspective of feminist studies, as it presents the fate of female prisoners, femininity, labour and motherhood in the camp, women's solidarity and their resistance to the oppressors. The Last Stage constitutes a unique, quasi-documentary source for the analysis of the role of translators and interpreters working in extreme conditions. Moreover, the authenticity of the portrait of Marta Weiss may not be contested, as it is based on the person of Mala Zimetbaum, a translator and messenger in the Auschwitz camp, killed in 1944 after a failed escape from the camp. The present paper presents the topic of interpreting and translating in a concentration camp from three different angles: film studies, feminist studies and interpreting studies. [ABSTRACT FROM AUTHOR]

Claude Lanzmann's nine-hour documentary Shoah (1985) is a rich source of knowledge on the Nazi extermination of Jews in Central Europe. Its main material consists of interviews with people who witnessed the Holocaust, conducted in the very locations of the wartime events. The present paper analyses an iconic scene from Chełmno on Ner, where between 1940-1943 and later 1944-1945 the first Nazi death camp was located. A group of locals - gathered in front of the parish church, around one of the survivors of the camp - recall the events, sometimes in stunning technical detail. Their Polish utterances are translated into French; English subtitles are based on the French of the interpreter. The Polish linguistic material is not neutral: it is marked with dialectal and sociolectal features; the speakers engage in conversation on the side, comment on the situation of the interview in various ways, verbal and non-verbal. In the translation, both into French and English, sentences are skipped, the plurality of voices is flattened, and differences in memory are smoothed out. The resulting text is rather a summary than a translation. The paper offers close-up analyses of chosen sequences from the interview to show the complexity of the communication situation and the extent of distortion caused by the way translation works in the film. It also offers an alternative translation, which aims at giving voice to the actual people of Chełmno and acknowledging as fully as possible the complication and difficulty of memory construction through language, especially in a highly traumatic area. It hopes to offer insights into the bystander position in Holocaust discourse. [ABSTRACT FROM AUTHOR]

This biographical paper describes Stanisław Barańczak's first attempts at translating poetry as a high school student in 1964. The aim of the paper is to present the birth of his philological passion, and to answer the question of how Barańczak emerges a translator. The presentation is based on six unpublished translations of Russian and English language poems found in the correspondence of Barañczak and in the hitherto unknown memories of his school friends. The analysis focuses on the technique of Barańczak's translation work, on reconstructing his motivations, selection of texts for translation, self-assessment of the results, opinions on the authors of the original and evaluation of pop-culture. In addition, the paper offers several facts from the private life of the teenage translator, among others the decision to study Polish philology, as well as his relations with his high school colleagues and teachers. [ABSTRACT FROM AUTHOR]

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The article discusses De operis huius editione carmen, a hitherto unknown Latin song by Andrzej Trzecieski, dated October 3rd, 1556, included in a unique copy of Eustachy Trepka’s translation of Arsatius Seehofer’s postil published by Hans Daubmann in Königsberg in 1556 (Wolfenbüttel, Herzog August Bibliothek, A: 509 Theol. 2o). The paper outlines the historical circumstances of producing the song, draws attention to the exceptional motive of the proofreader’s appraisal, and highlights aspects shared with other contemporary poems by Trzecieski, most importantly De Sacrosancti Evangelii in ditione Regis Poloniae [...] origine, progressu et incremento elegia (Elegy on the Beginning, Progress and Increase of the Blessed Gospel in the Countries Subordinated to the Polish King) and In Aloysium Lipomanum […] Carmen (Poem on Lippomano). Furthermore, it presents De operis huius editione carmen in the context of its author’s relation to Mikołaj Rej. An Annex contains the original text, a commentary, and the song’s translation into Polish. [ABSTRACT FROM AUTHOR]

The article acts as a presentation of Paweł Zaborowski and as an analysis of Batrachomyomachia in his translation published in the year 1588. Two Latin texts that could have been sources of the Polish translation, namely an anonymous line-for-line translation and a verse translation by Joachim Münsinger, are indicated. The paper discusses the original features of Zaborowski’s piece that make it different from the other 16th c. Latin translations of the text and from the Greek original, i.e. adjusting it to the reality contemporary to the poet, supplementing it with epic elements (as Homeric similes), adhering to the principles of rhetoric, didactism, as well as referencing to Roman poets. [ABSTRACT FROM AUTHOR]

This paper illustrates the forms of organisation and activism of translators/interpreters with visual impairment by way of interviews and the archive of their international mailing list. Due to this variety of materials, Figiel illustrates different forms of activism of blind translators (including those living outside Poland). He posits that their activism is connected with the increasing objectivised and embodied forms of cultural capital required from such translators. Translators’ activism contributes to the improvement of their working conditions, and to the improvement blind people’s quality of life. Nevertheless, blind translators remain invisible as activists. [ABSTRACT FROM AUTHOR]

The objective of the paper is to present the current state of research on the silhouette and activity of Pedro Ruiz de Moros (Roysius), as well as on his work Decisiones Lituanicae, and put forward research postulates. The author presented in particular the results of research conducted by Tomasz Fijałkowski and Andrzej Kremer, and proposed directions in which these studies should be supplemented. One of the postulates is to take a closer look at Roysius as a Renaissance expert in Roman law. Another postulate is to conduct in-depth research into elements of Roman law in Decisiones, and then determine the influence of this work on judicial practice. Another area of research is the activity of Roysius in the Grand Duchy of Lithuania, in particular his role in the work on the Second Statute of the Grand Duchy of Lithuania and the development of the Statutes of the Samogitian chapter. Next, the postulate of publishing Decisiones' translation into Polish was presented, and difficulties and doubts related to the translation were indicated. [ABSTRACT FROM AUTHOR]

The paper presents the history of Eustachy Trepka's Polish translations of postils written by Arsatius Seehofer and Anton Corvinus, published by the printing house of Hans Daubmann in Königsberg. Both works are usually considered to be published in 1557, but a previously undiscussed copy of Seehofer/Trepka's postils at Herzog August Bibliothek in Wolfenbüttel (A: 509 Theol. 2o) moves the issue date to the beginning of October 1556. This new information makes us reconsider the relatively well-documented history of the whole undertakingand thus also the beginning of postilography in Polish. [ABSTRACT FROM AUTHOR]

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The paper analyses the tradition of exempla in Anna Mostowska's novel Matylda i Daniło (Matylda and Danilo) (1809). To effectuate this task, it recalls the narrations from two collections, namely Joannes Major's Wielkie zwierciadło przykładów (Great Mirror of Examples) (Polish translation by Szymon Wysocki from the year 1612) and Michał Jurkowski's Historyje świeże i niezwyczajne (Fresh and Unusual Stories) (the first part of the 18th c.). The article reveals the "long-lasting" of certain fictional schemes and motifs (a penitent ghost, attitude to monastic life, suffering of a purgatory soul, or the redemption of sins and salvation of an individual) present both in the preacher's examples and in the novel in question. The patterns of Western European horror novel are in Mostowska's piece modified through the conventions of applied texts--exempla. [ABSTRACT FROM AUTHOR]

One of the basic tasks that is expected of artistic translation is the preservation of -- as far as it is possible -- the original genre structure of the source text in the target text. This paper attempts to address the question how this task is being accomplished in the translation of long and short prose forms by the Czech author Bohumil Hrabal, including causiere, črta, esej, efemera, montaž, novela, povídka, reflexe, skica. It may seem that the publication of several compendia related to his literary heritage, that is, Slovník Bohumila Hrabala or Czesko-polski słownik terminów literackich by Baluch and Gierowski should help in genological ordering of Polish translations of Hrabal's works, affect the translation of texts that have not been rendered into Polish yet, and enable correct genological classification of texts that have already been translated. The author's ambition is to find the answer to the question of whether such genological ordering is actually possible. [ABSTRACT FROM AUTHOR]

Th e paper contains a translation of a Latin mourning speech, namely a panegyric sermon arranged in Rome by Cardinal Stanisław Hozjusz in honour of King Sigismund II Augustus, the last Polish king of the Jagiellonian dynasty, who died on 7 July 1572. It is one of a few speeches preserved to this day from the abundant oratorio-predicatory output of this Catholic theologian and polemicist, then wellknown in Europe. It was delivered by Stanisław Reszka, the secretary and close collaborator of Hozjusz, on 10 November 1572 at the church of San Lorenzo il Damaso during a solemn funeral service administered by Pope Gregory XIII. Th e ceremony took place in a magnificent scenery created by an elaborate castrum doloris erected especially for this ceremony by Cardinal Alessandro Farnese, the protector of Polish aff airs, with the participation of Hozjusz and his close collaborators. Th e translation is accompanied by explanations that concern events and historical fi gures, geographical names, quotations, and phrases taken from the Bible and ancient authors. It is preceded by a short introduction in which, apart from the origins and circumstances of the delivery of the speech, its composition and style are discussed. Th e sermon has a clear structure. It consists of three parts, typical of this type of public utterance. In accordance with the customs of the epoch and the preaching textbooks of that time, the initial part (lamentatio) and the fi nal part (consolatio) are rich in biblical phrases (especially from the prophetic books) that perfectly emphasize the dramatic character of the situation, as well as the signifi cance and further consequences for Poland of the death of the last Jagiellon. Th e leitmotif that integrates the whole speech is a thought from Prophet Jeremiah (Jer 13:18): "your beautiful crown has come down from your head." Th e middle part (laudatio) is fi lled with the praise of Sigismund II Augustus and the Jagiellonian dynasty. Hozjusz draws here an image of the ideal ruler, enriched with Renaissance elements, such as striving for peace and good relations with neighbours, supporting humanists, excellent and refi ned customs, as well as a perfect mastery of the art of elocution. Following the postulates formulated by the author himself, the style of this sermon is characterized by simplicity, naturalness, and elegance. [ABSTRACT FROM AUTHOR]

The main problem discussed in the paper is the authenticity of speech of the inhabitants of Chełmno in the sequence filmed outside the parish church in Claude Lanzmann's Shoah. The authors analyze a number of characteristic features of the bystanders' language vis a vis the French translation provided on-stage by the interpreter Barbara Janicka, and the English subtitles. It is argued that the language of the bystanders carries important information on the speakers' individual and collective identity, and gives clues on the construction of memory, not just on the level of meanings, but also in its materiality. The analysis focuses on four planes which were identified as important for the construction of the implicit messages: semantic ambiguity of the utterances; narrative techniques used by the speakers; verb forms, especially the impersonal use of verbs; and syntax. The specific linguistic traits of the language used testify to the fact that the speakers lack adequate tools to verbalize their traumatic memories and to reflect on the reality that they were part of. The analysis of the linguistic landscape of the scene also leads to conclusions about the instrumentalization of speakers on the part of the film director. The French and English translation in and of the sequence - a summary rather than a rendition - clearly, albeit perhaps not intentionally, contributes to this effect. Through linguistic analysis and wide contextual interpretation, unpacking the way the bystanders speak, creates a new, hitherto unacknowledged, source of knowledge on witnessing and trauma. [ABSTRACT FROM AUTHOR]

The paper offers a discussion on a recent volume by the renowned critic and translator Jerzy Jarniewicz, a selection of 24 essays, mostly published before in the press and collected volumes. Among the many publications within the flourishing field of Polish translation studies, Jarniewicz's book stands out because of its clear and reader-friendly style, which makes for an interesting reading not only for the specialists but for everyone interested in literature and translation. Although the volume includes both academicoriented and essayistic texts, it does give a sense of homogeneity, thanks to the recurrent themes and problems. The central concept, developed as a kind of leitmotiv in several chapters, is that of translator as author, and of translation as a creative process, equal in status to original writing. Jarniewicz combines a theoretical approach to translation with the more down-to-earth considerations on translator's status and role in the contemporary culture. Also, as announced in the title ("Translator among others") his texts are related, but not limited to the topic of translation and deal - among others - with such questions as literary paratexts, critical reception of Polish poetry abroad and the ways of keeping alive the interest in literary classics. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the paper, which brings together the results of a pretiminary research, is to provide an overview of selected issues and textual practices related to indirect translation in the Polish-Italian intercultural exchange in the 20th century. In Polish literary translation studies, the significance of indirect translation has been seriously undervalued, especially in research on literary translation from Polish as a source language. Many classical works prominent of Polish authors (e.g. Witold Gombrowicz, Czesław Miłosz, Stanisław Lem) were published in Italy as a result of indirect translation via one of the "central" languages, usually French or English, or by a bilingual team of translators. After discussing main terminological and methodological issues, the study presents two "microhistorical" examples - La casa delle donne: Zofia Nałkowska's Dom kobiet translated in 1930 by Sibilla Aleramo via intermediary translations into French and Italian, and Witold Gombrowicz's Ferdydurke, translated into Italian in 1961 by Sergio Miniussi via French and Spanish, under the supervision of Konstanty A. Jeleński. These two cases, exemplify different text typologies and practical approaches to the translation process. [ABSTRACT FROM AUTHOR]

Despite previous attempts of rendering William Shakespeare's works into Polish or transposing them onto the Polish stage, the history of Polish Shakespeare translations started in the first decades of the 19th century. Significantly enough, the very first complete translations from the original emerged in the very specific area of Polish Borderlands (Kresy), which is no longer a part of the Polish territory. The aim of the paper is to present seven early Polish Shakespeare translators whose translation endeavours were closely connected with the Borderlands: Ignacy Hołowiński, Placyd Jankowski, Józef Korzeniowski, Julian Korsak, Adam Pajgert, Apollo Nałęcz Korzeniowski, and Antoni Pietkiewicz. The analysis of their efforts allows to view the parallels in translators' motivations and strategies, explore the spatial distribution of their endeavors and thus to study the interconnections of creativity, political context and geographical space. [ABSTRACT FROM AUTHOR]

Ancient playwrights created their plays to be performed on the Athenian stage in the 5th century BC. Within the ensuing centuries, though, their plays were regarded mainly as literary works. Such was the prevailing attitude in the 19th century, when first Polish translations of Greek tragedies were published; it was also very common in the 20th century. However, some translators were aware of the fact that what they translated was not only poetry, but also a material for the stage. Since a Polish theatrical stage differed from the ancient one, a translator of any drama found themselves not only between languages and cultures, but also between stage conventions. That is why their work was always interdisciplinary, it also required inventiveness. But their licence was usually constrained by contemporary literary and theatrical tendencies, and also by the current body of research on antiquity, which was constantly changing. We will never have access to the original idea of those works, but we may try to follow the translator's work, and try to understand their decisions, their interpretation of a play and the staging potential designed in the final translation, which influences the imagination of readers or spectators. Making use of the necessarily interdisciplinary standpoints as well as selected examples of Polish translations, this paper considers the role of translators in rendering a play from a distant past into the modern world. [ABSTRACT FROM AUTHOR]

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This paper is dedicated to a letter that Niccolò Perotti wrote to a friend. It is divided into two parts. The first part is an introduction to the letter. It presents an autobiography of the Renaissance humanist with special emphasis placed on his translations of ancient Greek texts into Latin. Jean-Louis Charlet, the leading researcher on the Italian's works, highlights the importance of this particular letter for establishing the chronology of translations and Perotti's other works, as well as his date of birth and other major events in his life. The introduction also discusses the epistolary art, which Perotti practiced and whose grammatical rules he wrote down so he could study them. Next, the author considers the subject matter of the letter, which oscillates between the notions of vera nobilitas and homo novus. Perotti decides to give himself over to literary activities and he substantiates his choice in a form of examination of conscience. For him as a humanist, who often avails himself of quotes from Pliny the Younger, true nobility arises out of the virtues of reason and is not based on material goods. In his deliberations, Perotti follows such remarkable minds as Petrarch, Poggio Bracciolini and Buonaccorso da Montemagno. He quotes Petrarch on the magnitude of human thought, Bracciolini on the threats arising from the desire for wealth, and Montemagno on the true source of nobility lying in virtue and a person's work, but not in the right of inheritance. Finally, these thoughts are collated with the Stoic philosophy of Epictetus. Having translated Encheiridion, Perotti filled his epistolary confessions with an echo of the Stoic's teachings. These mostly concern taking care of one's soul and not becoming attached to material goods, obtained by twist of fate. In the second part, the author presents a collective translation of the discussed letter, preserved in manuscript in the Vatican Library (Vat. lat. 3027, f.115r-f.118r). It is a very important autobiographical document that allows the reader to look upon Perotti's work in the context of the popularization of ancient Greek thought, as well as to his motivations and the internal dilemmas that were entailed in this undertaking. [ABSTRACT FROM AUTHOR]

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Copyright of Przegląd Socjologii Jakościowej is the property of Redakcja Przegladu Socjologii Jakosciowej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Przegląd Socjologii Jakościowej is the property of Redakcja Przegladu Socjologii Jakosciowej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Przegląd Socjologii Jakościowej is the property of Redakcja Przegladu Socjologii Jakosciowej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses translations of biblical passages into Kashubian, which originated in the Lutheran circles between the 16th and the 19th centuries, followed by translations made in the Catholic circles in the 20th and the 21st centuries. The history of these translations has been divided into two periods: “old translations” and “contemporary translations.” The former comprise various bibli[1]cal texts preserved in manuscripts and printed monuments, which came into being between 1586 and the second half of the 19th century. The fundamental texts of this period include the works by Szymon Krofey (1586), Michał Pontanus (1643), and Perykopy smołdzińskie (1699–1701). The old translations were done from German in the Protestant circles in West Pomerania. In turn, the “contemporary trans[1]lations” of biblical texts into Kashubian embrace translations from the second half of the 20th century, which were produced in the Catholic environment of Gdańsk Pomerania: from Latin (Mk 4:3-20) by Alojzy Nagel (1973), from Latin (four Gospels) by Rev. Franciszek Grucza (1992), from Polish (the New Testament and the Psalms) by Eugeniusz Gołąbek (1993–2007) and my own translations from Hebrew and Greek (the Four Gospels, the Pentateuch, Ecclesiastes) prepared in 2001–2020.

Irrespective of the educational level, grammar is typically tested in a very traditional manner by means of such tasks as multiple choice, gap filling, paraphrasing or translation. The problem with this manner of evaluation is that it mainly taps into learners' explicit, declarative knowledge that can only be applied when sufficient time is available. In addition, these tasks primarily focus on form, simultaneously ignoring the semantic and pragmatic aspects of grammatical knowledge. The article argues that such traditional tests should be complemented by what is referred to as productive and receptive focused communication tasks (Ellis, 2003), which necessitate the use of a specific grammar structure or at least are designed in such a way that such use is conducive to the attainment of the communicative goal. The application of such tasks allows insights into the implicit, or at least highly automatized, knowledge of the targeted structures (Ellis, 2009; DeKeyser, 2010) as well as shedding light on their form, meaning and use (Larsen-Freeman, 2003). It is suggested that their use not only enhances the validity of testing grammar but can also have a beneficial effect on the ways in which grammar is taught and learned. [ABSTRACT FROM AUTHOR]

Copyright of Sudia Litteraria et Historica is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)