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The paper offers an insight into a family of a root word “śmiech” (“laugh”) in Cyprian Norwid’s poems. The family is composed of 10 lexemes, namely “naśmiać się” (“have a good laugh”), “pośmiewać” (“spend some time laughing”), “pośmiewisko” (“laughing stock”), “rozśmiać się” (“make laugh”), “śmiać się” (“
The source for research in this article are adaptations of dogmatic andmoralizing texts printed in Basilians typography in 18th century. Examined textshave Polish, Latin and Orthodox Church language origin. Their role in shapingthe Ukrainian literary language and style typical of Ukrainian religious literaturewas studied. Analyses of their influence on the formation of recipients, and in thiscontext the process of shaping the identity of the Uniates, shows Eastern andWestern influences.
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This article is an analysis of the animal motifs in Piotr Skarga's Żywoty świętych [The Lives of the Saints]. It might initially seem that they do not play an important role in this monumental work. However, when we pay more attention to them, it turns out that they convey valuable information related to the way in which views on the place of man and animals in the Christian universe were formed. An analysis of the motifs collected in the article shows that there is no justification for those stereotypes which result mainly from an erroneous interpretation of the biblical phrase: „Be fruitful and multiply and fill the earth and subdue it”, according to which, from the very beginning, Christianity as a religion was supposed to be characterised by a lack of respect for the created world and a merely instrumental approach to animals. Similarly, the conviction that only St. Francis of Assisi had a friendly relationship with „friars minor”, while other saints were not interested in relationships with them, is also erroneous. The presented text methodologically refers to the findings of the so-called Silesian „school” of micrology, and therefore it aims to concentrate on those parts of the examined work which are considered to be fragments, scraps or „miniatures” – messages that (at first glance) do not determine its value. The present study supplements the article „Znać iżeście i bestyj podlejszy”: zoomorficzne inkarnacje szatana w „Żywotach świętych” Piotra Skargi published in the journal Terminus (2/2019).
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This article deals with the presence of issues of Slavdom in the thoughts and works of John Paul II as an expression of their roots in Polish Romantic literature. Its centre is the cult of St. Cyril and St. Methodius, who, in the Pope’s view, became an expression of the universalism, Greek heritage and Christianity of the Slavic peoples. A reminder of the importance of the Solon brothers had already been mentioned in the Paris lectures of Adam Mickiewicz and in a forgotten poem by Teofil Lenartowicz. This was associated with the need for Slavs to gain self-knowledge, as demanded by Norwid, Słowacki, Mickiewicz and others. The mission of the Slavic Pope fulfils the above postulates of the Romantic poets. John Paul II recalls the identity of the Slavs and their role in the papacy and a united Europe. It restores their dignity and is an indication of their future.
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Karol Wojtyła’s decision to start Polish Philology at the Jagiellonian University after graduating from the State Marcin Wadowita Secondary School was no surprise to those who knew him in Wadowice. His theatrical interests and talents, mainly acting and directing, were widely known. He helped found a high school theatrical group, acted in the Amateur Universal Theatre run by Mieczysław Kotlarczyk, and on the stage of the Catholic House. His mentor in the field of the theatre was Mieczysław Kotlarczyk. As a secondary school student, Wojtyła had already started writing poetry, and possibly his Beskid Ballads had already been created.He wanted to become an actor, but also developed as a writer. Cracow, with its creative environment and student peers, supported his theatrical and literature endeavours. Besides his university studies, he also developed his acting skills in the Studio 39 theatre group. During the Nazi occupation of Poland, Studio 39 members continued their underground activities. After Mieczysław Kotlarczyk arrived in Cracow in 1941, the Studio was transformed into the Rhapsodic Theatre. Wojtyła participated in all 7 premiere performances. With his talent and acting capabilities, together with his deep theatrical knowledge, he was a rising hope for his underground companions in the field of acting. His skills were appreciated by such famous actors as Juliusz Osterwa. Osterwa, the chief Polish actor of those times, stated “We seem to have an extraordinary actor” after Juliusz Słowacki’s Król-Duch was performed with Wojtyła starring. He intended to employ Wojtyła after the war. However, the time to make definitive choices finally arrived and Karol Wojtyła entered the Higher Seminary for Priests in 1942. His rhapsodic experience and literary achievements were to be the measurement of his charismatic call to millions of followers and believers as the future Pope.
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In the scientific study, the images of animals, which function in the texts, were examined. Propaganda created in the Soviet Union. They were targeted at a specific group social – people who share the view into the existence of God. Propaganda in its content referred to the Slavic folklore. Monsters, hyenas, jackals, rodents, hydras and insects serve the creators to introduce “aliens” or “enemies.” Based on the analysis of metaphors, comparisons, compounds phraseological and other means of expression are presented in a way that discredits how people are discredited, and so are the animals. Stereotypical perception of living beings, disdainful attitude towards them and prejudices had an impact on inducing certain attitudes and behaviours (anxiety, disgust, hatred) in the recipients, which in the end strengthened the process of stigmatization, discrediting and marginalisation. Soviet propaganda, using images of animals perceived as beings with much lower statutes. It has contributed to the social exclusion of religious groups and strengthened the power of stigma, that’s already been given to some living organisms.
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Contrary to Ingarden’s meticulous analyses and explanations of many serious aesthetic problems,the initial stages of aesthetic experience or, more aptly, the event that immediately precedes thisexperience, is rather neglected in his work. This study seeks to fill in the ‘place of indeterminacy’ inIngarden’s description of the process of aesthetic experience, where the philosopher draws on twonotions: drawing toward quality and entry emotion. It uses two main sources. The first is phenomenology, in particular Husserl’s notions of the transition to modalities, the inclination to judge, andDufrenne’s affective qualities and aesthetic value. As a second point of departure, the study borrowsfrom a wide range of contemporary concepts proper to such fields as cognitive neuroscience, including affective heuristics, affective forecasting, unconscious affect, attitude and attitudinal change,and subtle distinctions in the field of emotions by Damasio: emotion, feeling, and feeling of feelings.Tracing the complex inter-relations among attention, affect, and the affective fixation of attentionalfocus, the author presents his conclusion concerning the non-aesthetical nature of the first qualityin proto-aesthetic event, the event character of this proto-phase of the aesthetic experience, andthe initiation of aesthetic experience through self-reflective feeling of feeling, aka entry emotion.
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The paper focuses on describing key attributes of the “superfluous man” as it appearsin Russian literature of 19th and 20th centuries, but also as more general literary type.It combines the analysis and interpretation of particular texts, in which such charactersappear, with contemporary and present views of literary scientists and critics. The purposeis to create a definition which can help us to consider which literary character is – or isnot – the “superfluous man”.
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An extremely interesting issue in the field of literature is the question of aesthetic and ethical dimensions of animal death. Is a calm death while being asleep, in a friendly environment, with no streaming blood involved, more ethical, because it is aesthetically “nicer”? How do these two categories relate to one another when it comes to animal death? In the Polish language, the verb used to refer to an animal that stops to be alive is “zdychać” (die), whereas to a human – “umierać” (pass away). Is there a sense of community between the animal and human fate in the face of death? Attempts to find the answers to these questions may be found in modern dramas, with Pawi tren by Iwona Korszańskia as one of the most interesting ones in terms of the discussed problem. In the text written by this author, animals and humans are equalized sharing the common fate, and their death is not differentiated between “zdychanie” (dying of animals) and “umieranie” (passing away of humans), but rather equivalent and equal. In the social performances presented in the drama, the inseparable couple, Eros and Thanatos, marks the life of a human and an animal to the same degree.
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Referring to my previous research (Wojtowicz 2010, 2011), the article analyses a humorous text entitled Peregrynacja Maćkowa (Maciek’s Peregrination, printed in 1612) which offers a parodic and satirical take on the ideas characteristic of courtly culture. I examine how these ideas are mocked with the use of parodic travesty. What serves as a starting point for discussion are the analyses of courtly culture by Rüdiger Schnell (in Die höfische Kultur des Mittelalters zwischen Ekel und Ästhetik). Apart from parodying courtly culture, the author of Peregrynacja Maćkowa mocks the chivalric romance and travel novels as well as alludes to the Brautwerbung motif.
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The subject of the article is the analysis of the journal ‘Zeszyty Naukowe Katolickiego Uniwersytetu Lubelskiego’ (Scientific Journals of the Catholic University of Lublin) until 2018, that is throughout 60 years of its publication. It was conceived as a presentation of research results of people connected with the university (researchers, students, graduates), as well as a record of events taking place at the university, both inside and outside its walls, through the scientific conference activities of its employees. The circumstances surrounding the creation of the journal are presented, as well as the composition of the editorial committee, which decided on the shape of the individual issues. The analysis was mainly focused on the ‘Articles’ section, which presented scientific achievements. The results are presented in a quantitative way and in percentage distribution, which seems understandable when presenting such extensive source material. It was also pointed out that ‘Zeszyty Naukowe KUL’ is a source of information for research on the history of the university, as it contains a separate section for recording events. Currently, the journal still retains its interdisciplinary character, despite the change of its profile – instead of presenting the achievements of the academic staff of the Catholic University of Lublin, it presents the achievements of authors also from outside this circle.
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The article discusses one of the new methodologies in literary studies i.e. ecological humanities. Referring to theoretical texts, the author critically examines their main ideas. In this spirit, she comments on the interpretation of literary works based on the methodology offered by bio-humanities, focusing on the sketch on the novel “On the Rocks of Calvados” (1884) by Antoni Sygietynski. Author presents “green writing” as common practice among authors of literary works and puts forward a hypothesis that literature might be ascribed with a precursory attribute in the field of ecology.
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Based on a corpus of articles from two regional subscription newspapers representing the most widespread type of daily papers in Germany, this contribution analyses quotations in headlines of press articles and their relation to the corresponding sequences in the text body, thus focussing on the quotations’ intratextual reference quality. It turns out, that a considerable part of these “quotations” shows modifications of the formulations given in the text body. How the modifications are actually formed is modelled by a five-stage scale, and which functions they fulfil is illustrated by selected examples.
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The author analyses the image of the Noble prize winner which is presented in dictionaries as well as in contemporary biographic works. The text discusses various image‑creating strategies applied by biography authors thanks to which a multidimensional portrait of Maria Skłodowska‑Curie is created. The most important and consolidated portrayal of the scholar has been supplemented by an image of a strong and a delicate woman in the world of men, a Pole and a patriot as well as a wife, a mother and a person involved in scandal.
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This book is devoted to the analysis of life, work and philosophy of writing of Gloria E. Anzaldúa – a renowned Mexican-American writer and activist. The interdisciplinary character of the monograph results from the fact that it joins various research perspectives: American, postcolonial, Border and gender and queer studies. It investigates significant social, political and cultural problems concerning the Latino/a Diaspora in the US, simultaneously concentrating on the literary value of the analyzed works. The great value of the book is the translation of poems and fragments of her eponymous work Borderlands/La Frontera made by the author, because so far no one in Poland has taken up the task of translating Anzaldúa’s work. Moreover, despite the extensive subject matter covered here, the book is written in a concise and accessible language, which makes it open to a very wide circle of potential recipients: students of English philology, international relations, history and gender studies; academics of these disciplines; and any readers interested in interdisciplinary humanities, gender issues or minority literature. It is also worth mentioning that there is no material on Gloria Anzaldúa on the Polish publishing market, and the monograph devoted to her has not been published yet anywhere in the world – there only exist numerous articles dealing with this subject which are scattered in books and scientific journals. // Publikacja jest poświęcona analizie twórczości i filozofii pisarstwa Glorii E. Anzaldúy - znanej amerykańskiej pisarki meksykańskiego pochodzenia. Interdyscyplinarny charakter monografii wynika z tego, że wpisuje się ona zarówno w nurt badań nad Pograniczem (Border studies), studia amerykanistyczne, postkolonialne, jak i gender oraz queer studies. Poruszane są w niej ważne problemy społeczne, polityczne i kulturowe dotyczące mniejszości latynoskiej w USA, a przy tym zwraca się uwagę na walory literackie omawianych utworów. Dużą wartość książki stanowią tłumaczenia wierszy oraz fragmentów jej epokowego dzieła Borderlands/La Frontera dokonane przez Autorkę, ponieważ dotąd w Polsce nikt nie podjął się przekładu twórczości Anzaldúy. Pomimo obszernej tematyki jest to pozycja napisana językiem zwięzłym i konkretnym, unikalna ze względu na bardzo szeroki krąg potencjalnych odbiorców, którymi mogą być studenci i studentki filologii obcych, studiów międzynarodowych, historii i studiów genderowych; pracownicy naukowi tych dyscyplin; czytelnicy zainteresowani interdyscyplinarnymi badaniami humanistycznymi, tematyką gender czy literaturą mniejszości. Ponadto warto zauważyć, że na polskim rynku wydawniczym brakuje jakichkolwiek materiałów dotyczących Glorii E. Anzaldúy, a w piśmiennictwie światowym nie powstała dotąd monografia jej poświęcona - liczne artykuły dotykające tej tematyki są rozproszone w książkach i periodykach naukowych.
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The article focuses on a niche (in the context of reception) aspect of Ewa Lipska’s work, namely the formation of the genre of the song on the basis of the literary output of the author associated mainly with high art, which includes poetry. The introduction (quotation and analysis of relevant theoretical texts) introduces the reader into the world of filiation between a poem and a song. The main part of the paper contains interpretations of selected works by Ewa Lipska which were used as song lyrics by such artists as Grzegorz Turnau or Anna Szałapak. In this article the author attempts to destabilise the notion of “sung poetry”, weakening also the stereotypes (connected with arbitrary assigning it only to intellectual poetry) growing around Ewa Lipska’s works. In the article, the author attempts to destabilise the notion of “sung poetry”, weakening also some stereotypes (connected with the arbitrary attribution only to intellectual poetry) around Ewa Lipska’s work.
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The paper analyses representations of the Warsaw Ghetto in contemporary Polish children’s literature. The aim of the first part of the article is to interpret literary aspects of selected works, mainly Kotka Brygidy [Brygida’s Kitten] by Joanna Rudniańska (2007), Po drugiej stronie okna. Opowieść o Januszu Korczaku [The Other Side of the Window: A Tale about Janusz Korczak]by Anna Czerwińska-Rydel (2012), and Arka czasu, czyli wielka ucieczka Rafała od kiedyś do wtedy przez teraz i wstecz [The Ark of Time, or Rafał’s Great Escape from Once Through Then Until Now and Back] by Marcin Szczygielski (2013). The second part covers an analysis of the illustrations, maps in particular, as they are part of Pamiętnik Blumki [Blumka’s Diary] by Iwona Chmielewska, two editions of Arka czasu (with illustrations by Daniel de Latour, 2013, and the novel’s author, 2015, respectfully), and Ostatnie przedstawienie panny Esterki. Opowieść z getta warszawskiego [Miss Esterka’s Last Show: A Tale from the Warsaw Ghetto] by Adam Jaromir and Gabriela Cichowska (2014), among others.
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