Jak używano leków i lekarzy
Review: Grzegorz Marzec, Medycyna [Medicine], Wydawnictwo IBL PAN, Warsaw 2018.
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Review: Grzegorz Marzec, Medycyna [Medicine], Wydawnictwo IBL PAN, Warsaw 2018.
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This article addresses the issue of intersemiotic translation of a painting, taking as the basis the functioning of Arnold Böcklin’s work The Isle of the Dead in European culture. The theoretical part of the article relates to the basic components of the theory of intersemiotic translation; in particular, it notes the importance of the difference between the closed system of signs and the possibility of their transposition into other sign systems. This part of the article also discusses the terminology used in intersemiotic translation. Since the creation of the first version of The Isle of the Dead in 1880, this work has been regarded as a masterpiece, though frequently – due to its numerous transpositions into various forms of art – as balancing on the border of kitsch. The descriptive and analytical part of the article, divided into four subsections, refers to the ways the painting has been transposed and has functioned in culture. The first subsection outlines the history of the work’s creation and discusses the fundamental changes in its reception, which were influenced by the political and cultural situation in European history. The subsequent parts of the article overview different art forms that have been inspired by Böcklin’s painting thus far. Examples of plastic art include copies, reproductions, and art forms that rupture the border between the image and the word (such as comic books) as well as three-dimensional realizations (such as theatrical sceneries and architectural designs). Examples of works of literature that were inspired by Böcklin’s painting include elements of prose, poetry, and drama (such as works by Strindberg, Aragon, and Tetmajer), whereas the inspirations found in music include musical poems composed by Rachmaninoff and others. Finally, this paper presents an analysis of film productions that have made reference to The Isle of the Dead, ranging from works created in the 1940’s to a commercial movie made in 2013.
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The purpose of the author is to find the main motive why Auerbach chose to use the non-disciplinary term “European philologists” and what he meant by that. I argue that Auerbach’s consciousness of Europe as a historical entity was formed in the 1920s, but his exile turned this consciousness into a position. A basic question is about the symbolic geography of European culture in the works of Auerbach. The synonymous use of Europe and Abendland distinctly reveals Auerbach’s dual, unifying/divisive understanding of the identity and symbolic geography of European culture. If we accept the opinion that the European has been represented for centuries by the Romance, then the tasks of Romance philology as European philology will become clearer and the cultural geography of Europe narrower. The cultural-historical identification of Europe and Abendland after the Second World War solidified the anyway existing division of Europe in to two blocs. Literary history and philology divided Europe in the way this was done by the relevant political doctrines too. The human sciences also contributed significantly to the creation of value-attitudes, and an investigation of the former from this perspective gives us additional reason to assume that the agreement on the division of Europe after the Allied victory was not based solely on strategic interests.
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Oles Ulianenko, one of the most talented and controversial modern Ukrainian writers, has been dead for ten years. However, during his life O. Ulianenko’s works were not given any appropriate professional interpretation as the literary scholars and critics applied either the wrong or inefficient method because of the numerous objective or, very often, subjective reasons. The goal of this article is to suggest an alternative variant, in comparison to the traditional literary ones, of theoretical literary analysis which is grounded on the principles of the corporal-mimetic method to interpret fiction, and which is an example of literary analysis of the writer’s novel “Syn Tini” (The Shadow Son). Consequently, the conclusion has been drawn that the meaning of the analyzed novel is not determined by moral-ethical rigorism but by an anthropological correlate of desire aimed to overcome death, hence, to accept life because the exact realization of the corresponding correlate connected with ontological categories “life” and “death” can “explain people’s existence. Not as a flock, but human beings…” (J. Lucan). Moreover, relations between a man and a woman can be considered in the same ontological-anthropological plane. Thus, Oles Ulianenko’s novel “Syn Tini” does not depict a “zoo”, albeit “human” one, not a parade of sadistic deviations which are “idiologized” or “aestheticized”, not to speak about “demonism of criminal actions” of any kind – it depicts exactly people. People who are madly driven by their desire to become someone in life, to be at least “shadow son”, since they are obviously not able to claim the status of those who can count on having their own shadow.
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The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but also visually, alternately changing brushes to pen. Such a synthesis is quite productive because these works are enriched by narrative thematic motifs, genre varieties, a figurative vision of reality, compositional figures of the material organization, etc. It is proved that the expressionists did not follow the modernist concept “Art for the sake of art”, yet for them a human is with his fears, complexes and visions in the center. Thus, the main aim of an artist is using various artistic means to show a sacred inner world where in contrast to the real philistine life a spiritual unity and harmony do exist. In a combination of text, drawing or music, or, like Kokoschka’s light and paint, expressionists try to convey through multimedia the sensual and sacred that arises for them as the purpose of existence.
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The article under studies reveals the terminological polymodality of the concept of “cinemanovel” as a screened novel; film genre; an original narrative work that tends to a screenplay; literary text written on the basis of the film and the screenplay to it (film “novelization”). An overview of modern theoretical and practical discourse of the cinemanovel genre is presented in the paper. It has been emphasized that some researchers try to find out the origins of this genre by analyzing the samples in a comparative and intermediate way, while others focus on clarifying the specifics of individual novels, concluding on the synthetic and hybrid nature of this genre. In particular, in this aspect, the cinemanovel-prequel by A. Kokotiukha “The Red. Without a Front Line” (2019) has been analyzed. This text, based on a film screenplay, appears to be a rather complex construct that acquires a double coding – cinematic and literary – hence the genre of the novel (as a product of the synthesis of two arts) contains the key features of both. On the one hand, we have to deal with the preservation of the cinematic codes that pass from the screenplay: fragmentation, word visualization, documentalism, eventfulness, editing, alternation of angles and plans, time reduction, dialogues, character formation in action, characterization through speech, conciseness of phrases in certain scenes to create the effect of maximum tension, image condensation, accumulation of internal tension in the episode. On the other hand (as a result of the so-called “novelization”), the text acquires genre features of the novel. These are: the scale of the narration (although fragmented and condensed), the description of characters’ lives is presented in line with historical events, with the disclosure of their psychology and inner world. Finally, the work is also marked with specifically architectonic, i.e. the author connects his cinemanovels together by means of a plot, the main character and a general artistic idea.
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The article is focused on the complex relations between the double – the dark side of man – and the devil as the purest form of this dark side. The two concepts are related to the crisis of human identity. When the Self begins to doubt its own integrity, then dark motives, suspicions and insecurity come out into the light of day. Several impressive images, in which the Devil plays the main role, will illustrate his intervention in the life of the Self.
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Beyond its definition as a story or an account of a sequence of connected events and experiences that is told or written in prose or poetry form in great detail and arranged in a logical sequence, or as the practice and art of telling stories, the narrative holds a special place of honour in the West African literary space. Although comparatively few are gifted in the art of story-telling, many often participate in listening. The griots, as these story-tellers or narrators are called in the countries that make up the Old Mali Empire, still wield some respect in modern times and often tell their stories in huge festival-like settings to the accompaniment of drums and tambourines. From the Senegambia in the West to Nigeria in the East, West Africa has produced literary giants in the narrative art form. Ousmane Sembene’s God’s bits of Wood(1960) and William Conton’s The African (1960) through D.T. Niane’s Sundiata: An Epic of Old Mali (1965) and Camara Laye’s TheAfrican Child (1953) to Chinua Achebe’s Arrow of God (1964) and J.P. Clark’s Ozidi (1966) all follow this narrative tradition. Ịzọn narratives consist of both the oral and written forms. However, this paper will focus on Bina Nengi-Ilagha’s Condolences (2002), Gabriel Okara’s The Voice (1964) and “Little Snake and Little Frog” (1992).
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Although of little aesthetic significance, the song ˝Ostante se tutuna˝ šejh Hasan Kaimija has been the subject of various controversies in the Bosnian scientific community for a whole century. This paper aims to show how the poem, from its first publication until modern times, has been used as an “ally” to deny or support certain narratives. As the central theme of all the texts in the dispute throughout the 20th and the beginning of the 21st century, the “thesis of Bogumilism” was imposed, apropos whether Kaimija could have known about Bogumils in the 17th century. The text is mostly used as an “ally” in historiography, identity theory, economics, religion, and only to some extent in literary history. Also, the aim was to show how the poem figured in these discourses, and especially the “controversial verses”, but also what kind of interpretation and valorization poem had in different historical contexts.
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Children’s books have always courted controversy, from nineteenth-century debates on the dangers of fairy tales to publications of the last fi ft y years that have off ered a challenge to the notion of what might be suitable literature for the young. Such a description will not surprise anyone familiar with the ideologically ambivalent or contradictory ideas about childhood that are articulated and negotiated in children’s fi ction, and aware of the degree to which children’s writers in general have taken the confl icts and political realities of modern history as their manifest topics. Th is paper will address controversial subject matt er and a source of interest of much contemporary children’s literature, the fi ctional coverage of familial and postcolonial confl icts, and will question traditional assumptions about children’s literature as an apolitical genre. It proposes that children’s texts are now in a position to envision new modes of response or resistance, challenging the uneven power relations of colonialism. More specifi cally, it will demonstrate how Farmer’s novels have questioned the dominant discourses that constitute cultural givens yet sometimes straddled the border between subversion and an uneasy complicity. Th e argument investigates what these texts have to say about colonial histories, relations of colonial power, and the projected futures of postcolonial societies. Th e African novels of Nancy Farmer, I will argue, raise postcolonial issues with a mix of compliance with and resistance to colonial ideologies.
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The article aims at analyzing the concept and purpose of death in the Aeneid, Book 2. In its premise, the concept of death presented within the poem reveals its ethnic, social and cultural tone. The deaths which close eight books of the Aeneid indicate the progress of a main theme: abdicate the past to defend the future. Initially, towards the closing of Book 2 Creusa dies: a loyal, affectionate wife and mother who is nevertheless to be replaced by a young bride chosen for political benefits. The modes and circumstances of the deaths elicit some immediate investigations: first, it seems meaningful that some die in the bloom of youth and others in old age; second, some must die as sacrifices to the gods; third, some are destined to die because they demonstrate furious difficulties to the completion of Aeneas’ duty. Before discussing the concept of death in Book 2 it is essential to introduce the reader into some considerations representing the structure and purpose of Book 2. The authors would like to thank professor Jakub Pigoń (Institute of Classical, Mediterranean and Oriental Studies, University of Wroclaw) for his guidance and insightful remarks throughout the process of writing of this article.
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Since the end of the 19th century, the Chronograph of the 1261 attracted close scholarly attention. It used to be studied from two perspectives. Researchers of the Byzantine culture along with historians of the Slavonic writing used to turn to the legend of Sovius in order to date the record only. In the Baltic studies, the Chronograph initially acquired status of the most valuable source of the Baltic religion and mythology. The unique folkloric account used to be mechanically extracted from the texture of the whole narrative and studied irrespectively of its textual surroundings. The legend of Sovius started to be perceived as an “insertion”. However, close scrutiny of the manuscript proves the case to be quite the opposite: rather than being inserted sporadically, the folklore material used to be applied consciously and on the regular basis. The subject of the present article comprises texts of Sovius, which are constituents of the same Chronograph but still have been disregarded in the Baltic studies. We have been apparently acquainted only with one part of the folklore material, one recording of the folkloric narrative, although the Chronograph contains two of them. The attention is focused upon the connecting textual link of Sovius from the 17th part, which directly precedes the conventional myth. Also, the reference of Sovius from the 33rd part of the Chronograph in the apocryphal legend of Melchizedeq is studied, presenting grounds for etymologizing the proper name. Cases of the legend of Sovius affecting the textual interpretation in the Malala’s Chronicle translation are revealed. The linguistic analysis leads to the conclusion that the writer used to fully recount not only the content of the mythological legend, but also its authentic form.
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The author of the article investigates mechanisms of mythologization and semantical transformations taking place in the Belorussian folklore texts centered upon the key name of the Grand Duchy of Lithuania, the duke Vitovt the Great. According to the results of analysis, the name accumulates significant ethnic information, is incorporated into various semantic cultural codes, thus functioning as a concise national cultural text. The image of the duke Vitovt the Great is reconstructed according to the folklore materials and place-names. Having been related to the worldview and the system of values cherished by the bearers of folk culture, it thus constitutes an important fragment of the Belorussian folk image of the world.
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On the basis of numerous academic studies, referable to this thematical paradigm, the author of the article reveals connections of the small prose by H. C. Andersen with the folkloric tale. One of the tendencies of the Danish golden age (1800–1850) is pointed out, namely, that of studying and popularizing the folk tales, as well as encouraging creation of the literary ones. Major attention is devoted in the article to the analysis and evaluation of seven tales by H. C. Andersen composed on the basis of folk tales. These 7 literary tales, i.e. The Tinder Box, Jack the Dullard, The Wild Swans, The Traveling Companion, What the Old Man Does Is Always Right, Little Claus and Big Claus, The Swineherd, are analyzed extensively. Analysis and comparison of extracts from one of these compositions, i.e. The Swineherd (Svinedrengen) and the folk tale The Conceited Maiden (Den stolte jomfrue) are also presented. Having considered all the small prose by H. C. Andersen, i.e. 156 compositions, his attitude to certain conventions typical for the folkloric tale, is highlighted. Interactions of H. C. Andersen’s work with the folk tales are bi-directional. During the early period of his creativity, while composing the literary tales H. C. Andersen directly followed patterns of the folkloric tale, whereas later variants of the tales created by H. C. Andersen himself started spreading and were told as folk tales. In this respect, tales The Traveling Companion and What the Old Man Does Is Always Right became especially popular. H. C. Andersen consciously used many conventions typical for the folkloric tales, e.g. the magical numbers, the stereotypical non-individualized characters, the beginning formulae (“Once upon a time”, “Once in a village”, etc.), and the unspecified place of action, yet distancing himself from the typical ending formulae of the folkloric tales, as well as from their habitual happy endings, applying deep psychological insight instead. Unlike folkloric tales, H. C. Andersen most frequently used the present tense instead of the past, probably regarding the present as more suitable for the magical manifestations and for the fairy tales in general. Also his conscious strategy included framing the story into another narrative.
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Poems by Jonas Aistis, such as Lopšinė [‘Lullaby’], Peizažas [‘The Landscape’], Šilainė, Naktis [‘Night’], Paprastas gyvenimas [‘Simple Life’] and several others, have been transformed into folk songs and are quite frequently sung. Already in the interwar Lithuania, approximately in 1936, students at Vilkaviškis gymnasium started singing these poems. Among them was the former student of this gymnasium, poet Kazys Bradūnas. Songs created according to poems by Aistis used to be and are still performed at meetings, parties, or during travels. They are very popular among Lithuanian emigrants in America. These songs also found their way into the repertoire of the folklore ensembles (e.g. Blezdinga or Rumškių giedotojai). Lopšinė [‘Lullaby’] and Peizažas [‘The Landscape’] are the most popular ones.
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Liaudies pasakojimai nuo seno buvo pagrindinis folklorinių tyrimų objektas. Pasakojimų skalė nusidriekia nuo išlikusių užrašytų seniausių mitų ir pasakėčių iki šiandieninių miesto aplinkoje gyvuojančių baisiųjų istorijų ir kasdieninių anekdotų. Iš gausios pasakų grupės kai kurie pasakojimai visada tiko tiek talentingų pasakotojų, tiek bet kurio žmogaus repertuarui. Bėgant laikui, pasakojimo žanrai kito nuo kelias valandas trukusių pasakų iki kelių minučių trukmės anekdotų ir kasdienių išgyvenimų raportų.
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Neseniai paminėjome profesorės Bronislavos Kerbelytės septyniasdešimtmetį. Didžioji mokslininkės gyvenimo dalis buvo skirta lietuvių folkloro klodų tyrimams. Sakoma, kad apie žmogų kalba jo atlikti darbai, o profesorė yra nuveikusi nepaprastai daug. Jos plunksnai priklauso keturiolika mokslinių knygų, keli šimtai straipsnių, sukurta unikali pasakojamosios tautosakos kūrinių tyrimo metodika, atverianti kelią naujoms folkloristikos perspektyvoms. O kur dar dalyvavimas mokslinėse Lietuvos ir tarptautinėse konferencijose, dalijimasis patirtimi mokytojams rengiamuose seminaruose, narystė folkloristų draugijose. Mokslininkės galvoje visada sukasi daugybė minčių, neįgyvendintų sumanymų, todėl įspūdingą jos darbų bibliografiją PASAKŲ IŠMINTIES SKLEIDĖJA Edita Korzonaitė, Jūratė Šlekonytė dar daug kartų reikės pildyti.
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Vita Sackville-West was an English Modernist writer, poet and gardener. In her short narrative Gottfried Künstler: A Mediæval Story (1932), a skater-artist Gottfried loses his memory due to an accident on ice and, as a result, becomes some-body else. The aim of this article is to prove that the work explores the development of the philosophy of beauty: negating classic theories, according to which beauty is grounded in being or nature, the story heads towards the contemporary concept of the aesthetic object, saying that beauty stems from art. The analysis of the story is divided into three parts: the exploration of being, the study of nature, and the discussion of the concept of the aesthetic object.
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The themes of quest for racial identity in Nella Larsen’s Quicksand and the protagonist’s struggle with dual identity are the most commonly discussed topics in countless critical articles over the past twenty years. However, Larsen’s portrayal of Helga Crane’s struggle to find an identity as a woman of mixed race serves to demonstrate that her issue is mainly with how society is essentialist. The primary goal of Quicksand is to demonstrate the fluidity of identity. With the challenges that the protagonist faces in the story, Larsen vividly demonstrated that identity is relentlessly changing. The purpose of this paper is to illustrate that the reductionist nature of different forms of essentialism causes many people continuous suffering. In other words, Larsen deploys the mulatto figure as a useful critical tool to explore how society is immersed in essentializing categories of race, class, gender and sexuality.
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