|Abstract: ||The monograph proposes a description and interpretation of genre and discourse
from the onomastic – or to be exact literary onomastic – perspective. Therefore, it
constitutes an attempt at bringing together different conceptions of language description
and communication, while broadening and enriching the scope of research. The
aim of the study is to present certain angles for reading, description and interpretation
of the higher levels of communication (text, genre, discourse) in the context of literary
onomastics. It purports to describe the process in which proper names co-form the
particular levels and areas of communication.
The source material is comprised of Baroque literary texts representing different
aesthetics and all stages of development within the period. The author drew abundantly
from the works of many poets, both major and minor. That approach allowed to arrive
at an averaged, relatively holistic and idiolectically balanced image of the epoch.
The study includes a theoretical chapter and two comprehensive empirical chapters.
The first chapter of the monograph (Proper name – text – culture) constitutes a theoretical
study of the methodological contexts of contemporary literary onomastics, the
text-centric nature of communication as well as a reflection on its essence, the markers
of the cultural formation of Baroque, and, last but not least, proper names as elements
of cultural memory.
Chapter two (Proper name towards genre. A study of the epigram and related literary
forms) is devoted to the description of the epigram as well as similar literary forms from
the onomastic perspective. In particular detail the author discusses the various components
of the genre model–structural, stylistic, pragmatic and semantic. The analysis
serves to demonstrate certain tendencies and functions connected with the presence of
proper names in the text, paying particular attention to the aspects of the genre model.
The analysis of the special components of the genre model of the epigram and related
literary forms from the perspective of onomastics shows that the particular aspects can
be successfully characterised according to proper names. At the structural level, proper
names demonstrate, for example, their formative function through their presence in
titles relating to the main link. The stylistic aspect is, on the other hand, framed by the
cultural and communication category of colloquialism, and, on the one hand – by the
markers formulated in poetics and rhetoric of the epoch, which can be identified precisely
by the proper names. In the sphere of pragmatics, the onomasticon confirms two
primary functions of the genre – ludic and didactic ones. The proper names analysed
due to their participation in the formation of the text’s semantic layer reflect the topicality
of the matters discussed by Baroque epigram writers; moreover, they convey the
varied character of the stereotypes as well as social and cultural clichés of those times.
In the following chapter (Proper name towards discourse), the author attempts
a discourse analysis from the perspective of proper names present within the discourse itself. To illustrate the point, the author discusses two discourses crucial to the Baroque
culture –metaphysical as well as erotic and romantic discourse. The onomasticon,
interpreted according to its participation in the formation of the level of discourse, displays
both markers typical for the culture of the epoch, and – even more importantly
– certain extracultural characteristics. The confirmation of that fact can be found
in the presence of multiple mythological names and proper names connected with
the Christian formation, which could be called topical, especially in relation to the
entirety of Old Polish writing. The proper names of both – the metaphysical and erotic
and romantic discourses testifies also to the Baroque idea of varietas, which outlined
the cultural map of the epoch, regardless of the discourse, even at the peripheries. The
observations concerning the onomastics of the chosen Baroque discourses in turn have
leaded to the conclusions that specific affinity and kinship of the genre and discourse,
since both of them oftentimes cannot be separated.
The richness, but also certain standardisation of the Baroque onomasticon remains
closely connected with the cultural characteristics of the epoch. Baroque was, in fact,
an extremely complex system, not only within the sphere of ideas and discussed topics,
but also that of aesthetics and roles of expressions, which could be interpreted from the
perspective of social communication. Moreover, while speaking on the subject of the
Baroque, one needs to consider the longevity of the epoch, its rhetorical conventions,
but also – the other extreme – the transgressive tendencies, search for new solutions,
strong individualisation of languages and cultural programs of the epoch.
Many of the discussed markers of genre and discourse, described from the onomastic
perspective, could be also found in texts representing other epochs in the history
of the civilisation. It, in turns, demonstrates the universality as the quality appropriate
for the human civilization.|