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Ova knjiga je nastavak našega rada na ispitivanju srpsko-francuskih književnih i kulturnih veza, čije smo neke rezultate već saopštili na naučnim skupovima u zemlji i inostranstvu, kao i u knjizi Intertekstualnost u novijoj srpskoj poeziji. Francuski krug, objavljenoj u Beogradu 2004. godine, u izdanju Gutenbergove galaksije. Sada smo istraživanja proširili i na prozno i dramsko stvaralaštvo. Veze jednog pisca sa drugim autorima mogu se zasnivati na volji toga pisca, kada se on izričito poziva na nekog drugog, ili na njega upućuje brojnim aluzijama, uspostavljajući sa njim neku vrstu dijaloga, zatim na zajedničkom istorijskom ili kulturnom kontekstu i tada su tipološke prirode, ali i na subjektivnom odnosu primaoca koji otkriva veze između različitih pisaca koji mogu biti među sobom povezani samo nekim zajedničkim temama ili narativnim postupcima, ili pak primenom jedinstvene tačke gledišta u posmatranju tih tema i fenomena. Moderna komparatistika velikim delom se zasniva na ovoj poslednjoj metodi, pa se tako, na primer, ispituju načini aktualizacije prošlosti u Lavirintu sveta M. Jursenar, Porodičnom cirkusu D. Kiša i romanima Čitač i Povratak kući B. Šlinka, uzimajući, naravno, u obzir i kulturni i ideološki kontekst preispitivanja istorije i istorijskog pamćenja u modernom vremenu. Mi smo se u svojim istraživanjima usredsredili na veze između srpskih i francuskih pisaca zasnovane na volji srpskih pisaca koji se izričito pozivaju na francuske autore i sa njima vode dijalog.
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The book consists of twelve interpretative essays which relate the author’s close encounters with the Polish literature of the 20th and 21st century. The publication opens with a micrological look into the poetry of Bolesław Leśmian as a story of the simultaneous power and misery of life, which by being embodied in an infinite number of forms ensures permanence of existence to none of these forms. The subsequent essay is a reading, guided by poetics, of the ideological poems of Władysław Broniewski, whose layer of content admittedly lost their appeal but they continue to enchant the reader with their masterly form which conceals both the mystery of their contemporary success with the readers as well as the reason for the present interest of the researchers in these poems. In the text that follows the author suggests a shared reading of a Władysław Sebyła poem which begins with *** [„Jesteśmy gnojem, mój bracie...”] (*** [“We are the muck, my brother…”]), here treated as a subtle counterpoint to the dark tone of the entire oeuvre of the author of the “Koncert egotyczny” (“An egotistical concert”). A return to the micrological perspective is featured in the article devoted to the works of Anna Kamieńska, in which the poet demonstrates a particular sensibility to small everyday things as a source of the answers to the questions about the sense of the existence of the world, of man and of God. The two subsequent chapters of the book are devoted to the works of Miron Białoszewski as a poet of transgression who consistently observes and deconstructs all patterns that he encounters. The protagonist of the two texts which follow is Wisława Szymborska as the author of the poem entitled “Mikrokosmos” (“Microcosmos”), which is one of the instances of proof, presented in the book, that she is fond of the world of micromatter and that she is a precursor of posthumanist thought in the context of Polish modern poetry. The final text which refers to poetry is an analysis of the volume by Ewa Lipska entitled “Drugi zbiór wierszy” (“Second collection of poems”), in which ironic notes resonate against the background of bitter diagnoses of modernity, enabling the reader to maintain distance toward the existential pitfalls which endanger both the individual and the community. The problems of the three final chapters, devoted to the accomplishments of Ryszard Kapuściński, Jacek Dehnel and Halszka Opfer in the field of prose, oscillate around the category of truth and fiction associated with the problem of the relation about the present time and the past time, the testimony of memory or the horizon of readerly expectations toward the text.
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William Shakespeare is considered to be one of the most fruitful neologists in the history of the English language. Although Shakespearean scholars are at variance in their estimates of the exact number of his neologisms,1 they are in agreement that he was “a most prolific coiner of words” (Willcock, 1934, p. 12). It seems surprising, therefore, that there are so few systematic, analytic studies of Shakespearean word-formation. Such established books as Evans (1952), Jorgensen (1962), Hulme (1962), Joseph (1947) portray the vocabularyof Shakespeare merely as a tool for achieving stylistic artistry, and they are not truly linguistic in their approach.2 The most celebrated linguistic accounts of Shakespeare’s language either disregard the word-formational component altogether (Abbott, 1883; Blake, 2002), or present only a brief, general discussion of the most productive processes (Brook, 1976; Blake, 1989). The most detailed word-formational accounts are studies by Garner (1982), Dalton-Puffer(1994), and Salmon (1987). These, however, are article-length and thus do not exploit the subject in full. The present monograph is an attempt at delivering a comprehensive studyof one aspect of Shakespearean word-formation, namely the category of Nomina Agentis. The greatest weight is attached to the morphological and semantic aspects of agentive derivation. The formal analysis, which covers the combinatorial properties of the agent-forming suffixes with respect to the etymological and syntactic features of their bases, is supplemented with the study of semantic effects of a given type of nominalisation. Although the approach is primarily synchronic, diachronic information is also provided where it seems beneficial in supplying a wider context, for instance, for the further attestations of a given Shakespearean neologism, or for a contrastive juxtaposition of a Shakespearean agentive formation with the Modern English one. Conceptually, the monograph falls into two parts: the theoretical-descriptive, whose main aim is to formulate a working definition of an agent, as well as todevelop an appropriate model within the frameworks of which the study could be conducted, while the second part is the proper morphosemantic analysis of the sampled data. Structurally, the work is divided into six chapters. Chapter 1 focuses on the problem of nominalisations in selected linguistic theories, such as, among others, TGG, GS, and Cognitive Linguistics. Attention is drawn both to those aspects of a given grammar which could profitably be employed in the study of nominalisations, as well as to the problems and difficulties stemming from the holistic application of a given model. The selection of the frameworks discussed in the chapter has been made with a view to develop the methodology that could be successfully applied to the analysis of the data sampled in the corpus of Shakespeare’s plays.Chapter 2 discusses the notion of productivity in word-formation. Different modes of the conceptualisation, operationalisation, and evaluation of productivity are surveyed, and a special emphasis is put on the problem of estimating the productivity of a given process in historical language studies. The following two chapters (3 and 4) relate Nomina Agentis to the theory of categorisation. It is shown how the prototype semantics, developed originallyby Eleanor Rosch and subsequently borrowed by cognitive linguists, can be employedto deal with fuzzy boundaries between some linguistic categories, like, for example, Nomina Agentis and Nomina Instrumenti. The theory also proves effective in incorporating denominal performers of actions into the category of agents (the problem is discussed in Chapter 4). Chapter 4 also discusses finer distinctions within subject nominalisations, for example, the notion of an experiencer. A brief survey of Modern English methods of deriving agent nounscan also be found here. Chapter 5 presents a linguistic and extralinguistic background of EarlyModern English. It provides an insight into external and internal factors that shaped the language of the Shakespearean epoch. The chapter focuses on issues directly connected with word-building and word meaning, hence the discussion of internal features of the language has been restricted to word-formation and semantic changes.Chapter 6 is the empirical part of the study, where Shakespearean agent-forming techniques are presented and analysed. Each suffix is studied from both the formal and the semantic perspective. An attempt at evaluating the productivity of a given process is also made.Since, as has been shown in Chapter 1, none of the currently available theories is inclusive enough to deal with the complex aspects of nominalisations, I have adopted a rather eclectic approach, the core of which constitutes the Generative Semantics framework enriched with the prototype theory attitude towards category membership, while the formal analysis is performed in conformity with the basic tenets of TGG.The corpus has been compiled from The first folio of Shakespeare: The Norton facsimile (2nd ed.), and the Arden Edition of Shakespeare’s Plays (second, and, where available, third editions). The etymological information, as well as the glosses, are cited after the OED. Line numbering and quotations are from the Arden Shakespeare. The glosses are illustrated with exemplary references. I have not provided references to all the occurrences of a given sense in the corpus, as presenting a complete typological compilation is not the aim of this study. (Introduction)
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The second series of The Polish Literature of North and South America is not only intended to be the completion or continuation of the first series. In this book, that includes almost thirty articles, once again a number of problems concerning Polish literary works written on both American continents has been raised, although the subjects themselves are most often new in the Polish literary studies (for instance, the situation of Polish emigrants to America, American visions of Polish writers, or “the world not shown” in the Polish literature created in exile.
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The subject of my analyses and interpretations is eight novels by Maria Krüger (1904–1999) - Polish journalist, editor and, after World War II, author of books mainly for children and teenagers. The novels I interpret include a novel for children aged 8 to 12 (Klimek i Klementynka, 1962), novels for teenage girls (Szkoła narzeczonych, 1945; Petra, 1957; Godzina pąsowej róży, 1960; Po prostu Lucynka P., 1980; Odpowiednia dziewczyna, 1988) and women (Brygida, 1970; Gorzkie wino, 1975). Krüger’s best known novels are Karolcia and Godzina pąsowej róży. Many studies concerning Polish novels for children and teenagers point to the innovative nature of Krüger’s writing, however, no study of her literary output or her biography have been written thus far. My dissertation is the first attempt to interpret her novels. I have based it on the literary output of feminist criticism and gender studies, mainly the texts of Lissa Paul concerning three strategies of gender reading of literature for young readers: rereading, reclaiming, redirection.My book has been divided into two parts. The first one – entitled Image background. Girlhood novel as a safe place. – deals with what the heroines of Krüger’s books say and think about the genre called “novels for girls”, especially the type called “boarding school novels”. It turns out that the life portrayed in such novels is a dream of one of the heroines, and other ones perceive the world presented in the boarding school novel as safe, as topophilia written about by Gaston Bachelard and – in relation to novels for young readers – by Alicja Baluch. The world of these novels can be perceived in such a way due to the fact that in the real world, when Krüger was writing Szkoła narzeczonych and Petra, it was the time of World War II. Krüger spent that time in occupied Warsaw. Many characters in her books mention the war, the occupation and the Warsaw Uprising, and talk about the cruelty of the world and their wish for peace and happiness after the war.In part one, I also mention the references to films in Krüger’s novels, the filming of Godzina pąsowej róży and the differences between the world portrayed in this novel and in Gorzkie wino – a book for women, the action of which takes place around the same time as in the case of Godzina...The second part of my book has been divided into three chapters – portrayals of heroines. In the first chapter – Dressed – I discuss the function of clothes in Krüger’s novels. Clothes are, among others, a way to express subjectivity and construct identity – also the sexuality (two female heroines dress as boys to do forbidden things) – to take control over another person, but they are also a source of pleasure (buying clothes is entertaining).Another portrayal – Appropriate – is an attempt to retrace the characteristics of heroines which allow them to be perceived as girls appropriate for men they marry or will marry in the future. I look at the model of femininity that the author sets in her novels. On the one hand, it is an exemplary housewife, and on the other hand – a girl, an independent woman, an artist.The final chapter of part two is entitled Mother. It discusses the relations of heroines with their mothers and (despite the title) fathers. I focus on the two novels for women – Gorzkie wino and Brygida. Their protagonists – Adelajda and Brygida – were brought up by domineering mothers. The fate of these heroines confirms the thesis that the relations with parents, especially mothers, greatly influence one’s life. In conclusion I write about autobiographic motives in Krüger’s novels for children, teenagers and adults. However, due to the lack of sources that could confirm my presumptions and conclusions, this part is, unfortunately, not very long and exhaustive.
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“This publication aims at examining the mysterious parallels shaping the works of the four writers, as well as showing the uniqueness of each author’s personal vision of fantastic literature as a genre, filled with intertextual references to both fantastic and mainstream literature. Some interdisciplinary articles of the monograph concentrate on the issues arising from the translation of their fiction.” (from Preface)
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The articles that comprise the book focus on a description of the phenomenon ofmodernity in the context of various theories of desire, starting from the classic Freudianpsychoanalysis through to Felix Guattari and Gilles Deleuze’s schizoanalysis. The first section of articles entitled Szyfry pragnienia w twórczości Bolesława Prusa (Codes of Desirein Bolesław Prus’s Writings) is devoted to The Doll, and in particular, to the characters’entanglement in the sexual norms and restrictions binding in the second half of the 19thcentury. The last text about the 1890 novel concerns the as yet insufficiently discussed connections of Prus’s novel with Maxime Du Camp’s treatise Paris, ses organes, ses fonctions, sa vie, which sheds new light on the Parisian episode.The cycle Piekielny pociąg Władysława Stanisława Reymonta (Władysław StanisławReymont’s Infernal Desire) consists of two dissertations devoted to the Nobel Prize laureate’swork. The first Niebezpieczeństwa fantazji (The Dangers of Phantasies) is an attemptto interpretet The Dreamer using theoretical tools developed by Jacques Lacan. Then, thesecond text entitled Falangi infernalne (Infernal Phalanxes), is an attempt at interpretingthe selected themes in The Vampire through the lens of the Leo Taxil case resounding atthe turn of the 19th and 20th centuries.The last part Inne pragnienia (Other Desires) contains two articles. The text “Gdypopłyną miliony…” (“When Millions Begin to Flow in…”) is a comprehensive analysis ofIgnacy “Sewer” Maciejowski’s forgotten novel about a Galician petroleum boom. Its interpretation focuses on such categories as: money, affect, sexuality and work viewed fromthe context of Guattari and Deleuze’s conception. The dissertation entitled Pasje (Passions)begins with a comparison of the vision of the Middle Ages chilren’s crusade created byMarcel Schwo and Jerzy Andrzejewski, and arrives at more genralized conclusions aboutthe nature of a homosexual desire and the specificity of historical writing.
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"We are presenting to you another, i.e. the seventh volume of Great Themes of American Literature. This time, what is the dominant motif of the collection is love." The authors of the eleven texts comprised in the collection try to answer the question of whether love really is a great American theme. Do the members of this society, which is generally perceived as pragmatic, materialistic and consumption-oriented, appreciate the feeling of love? Do literary images of love exist in American literature (and culture), and if so, what are they like? This volume is an attempt to answer these and similar questions. " (Sonia Caputa, Agnieszka Woźniakowska - Introduction)
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The volume is an interesting continuation of the current scientific publications on Slavic identity, or rather: identities. Not only does it refer to the studies in this area conducted earlier, but also - in the majority of the texts - it significantly supplements them with the analysis of new phenomena related to a differently understood concept of identity. Because of the combination of scientific tradition and questions relating to the future, it can successfully encourage more researchers to deal with the problem of identity in Western and Southern Slavic countries.From the publishing review by dr. hab. Patrycjusz Pajak
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A collective volume entitled Władysław Sebyła. Readings is a polyphonic and multidimensional monograph of the works by the catastrophic poet of the interwar period. It points to a new approach to reading this intriguing poetry, while revealing its unusual interpretive potential and various connections with the tradition of Polish lyricism. The book is evidence for multiple original/authorial readings, which adopted various methodological foundations, and multiplied interpretative contexts. It presents the very first, so multifaceted description of the phenomenon of Władysław Sebyła's work, imagination and thoughts, which is enriched with essays about his dramatic and critical literary works. What is the key to describing the specificity of the poet's literary output is the interpretative event, micrological reading, fascinating and exploratory encounter with the text. And this is why the analysis and interpretation of individual works, each time elucidating the whole of the poet's work anew, play such an important role in the volume. The book Władysław Sebyła. Readings is intended for both researchers and students of literature, as well as for all those interested in the twentieth-century poetry.
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The world of contemporary culture puts differences and multiplicity in opposition to the former urge of uniformizing; it eliminates continuity in favour of contingency; it values diversity and otherness over identity and similarity, and it rejects the neatness and safety of theoretical conceptualizations. An attempt at validating the claim that also today a certain aesthetic and literary movement lives on, which for some scholars is nothing more than a historical phenomenon from the past, may seem to be an empty and hopelessly unreal rhetorical strategy. Yet, for the present monograph, the point of departure is an assumption that artistic texts appearing and functioning in a specific cultural environment and tradition should have a feature in common. And to this particular feature, defined as expressionism, the present work has been devoted.The two introductory chapters discuss the origin and evolution of historical expressionism at the beginning of the 20th century, with a special emphasis placed on the Italian varieties of this tendency, i.e. the futurism and the aesthetic views of artists affiliated with the Florentine magazine “La Voce” (1914–1918). Expressionism is usually defined as an artistic movement that originated at the beginning of the 20th century in German-speaking artistic bohemia as an opposition to impressionism. It was only with the passing of time that this novel artistic technique, that also contained a new idea of the world and the man, spread into the field of literature. The basis for the research on the characteristics and constant features of the movement of this period are thus theoretical texts written both by German authors and artists (i.a. Hermann Bahr, Wilhelm Worringer, Gottfried Benn), as well as by Polish (Erazm Kuźma) and Italian scholars (Gianfranco Contini, Paolo Chiarini). The German and Italian artistic and literary avant-garde of the beginnings of the 20th century is, however, merely one of many forms in which the expressionistic tendency has been realized. Literary historians (e.g. Contini, Segre, Isella) frequently emphasise the view that Italian literature from the very beginning has been marked with the attitude of rebellion towards settled canons and aesthetic authorities.This rebellious form of artistic expression has been termed a developmental line of literature. It is undoubtedly an ahistorical tendency, not subordinated to any particular literary movement, but still active and valid as a reflection of a particular intellectual, philosophical, and moral attitude towards reality in which a man lives and creates. The expressionistic tendency understood in this way contains a specific set of features, such as combining contrasts, linguistic experiments, resemantization, discreteness, the episodicity and ellipticity of narration, the chaos of the world depicted, the contingency of events, hyperbolization and distortions of imaging. The expressionistic effect arises as a result of foregrounding one of those features, defined as an expressionistic dominant, and as a consequence of artistic transfiguration (transformation).In the following chapters of the book, the texts written by Italian prose-writers of the end of the 20th century have been subjected to analysis for the presence of understood in this way expressionistic dominant and ways of artistic transfiguration of individual compositional layers of a literary text. The spectrum of the authors under analysis might seem to be too broad or even inconsistent, as it encompasses both the so-called young writers, who made their debut in the 1980s and 1990s (Tondelli, Ammaniti, Nove, Scarpa, and others), as well as more “classical”, well-established authors (Consolo, Bufalino, Volponi, Testori). All the aforementioned authors are brought together by a strong desire to construct a new experimentalism originating from the awareness of a definite crisis which a contemporary category of language has faced.At all the three levels of the works analysed (linguistic, narrative, and thematic), certain permanent features have been distinguished that characterize expressionistic writing. Upon the linguistic layer, it is mainly concerned with going beyond the norms, hybrydyzation of language, incorporating neologisms, archaisms, dialectisms, specialist terms and spoken language into the literary repertory. All these procedures aim at exposing and emphasizing the expressiveness of text. The analysis of narrative patterns and the relations such as author-narrator, text-reader brings out the basic features of expressionistic diegesis, i.e. variability of focalization, metanarrative tendencies, and the simultaneity of episodes. The outcome of these devices is the impression of staticity and subjectivity of time, which are features of the narrative also present in the literature of modernism. The basic components of expressionistic imaginarium are the motifs of a town, moon, and dream, which are also present in the expressionistic literature of the beginning of the 20th century and updated by postmodern narrators by means of combining contrasts, exposing the effect of strangeness, allegory and hyperbolization. An exact specification of what expressionism is today, in times when it is difficult and even awkward to talk about an artistic or literary experiment, seems to be as hard as it was at the beginning of the century, in the age of historical avant-garde, since the historical avant-garde, and therefore expressionism as well, have long become a part of contemporary cannon. The expressionist techniques of artistic means have become common and they have lost their transgressive character; also, their role and way of functioning in an extensive koine of postmodern literature has changed. Those changes, however, do not imply the loss of meaning of artistic productivity.As a style and function of text, and also as a certain philosophy and idea of a man, expressionism is constantly present, acting in the melting pot of multiplicity and multifariousness of contemporary literature that is devoid of limits and theoretical references.The function of expressionism today is mainly communication. It is primarily a very dynamic and changeable artistic code that maintains vitality thanks to its nature, as it makes the literary past and present relate to each other and cooperate. The tradition of expressionism, being a part of the history of literature, generates new and unpredictable effects in postmodern literary texts, in this way becoming an emblematic example of postmodern creative technique. It is a communication code open to all kinds of thematic and stylistic novelities. This unusual combination of classics and experiment gives rise to a new quality, new aesthetic value, perfectly reflecting the polysemy and incongruity of contemporary literature. The expressionist writers of the postmodern epoch faced against the crisis of the functions of language, and the functions of literary language is particular, offer to establish a new relation with reality, which has always been, and still remains, the basic inspiration and matter of literature. This new relation treats reality as a dynamic process, or, rather, as a multiplicity of simultaneous processes that can only be verbalized by expressionist literature. The writer is therefore a recorder of dynamic processes, also of internal, the most intimate, unusual, irrational hallucinations, who tries to grab a fragment or a version of the most conspicuous feature of our times – unpredictable changeability.
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The collective volume entitled The Comic and the Tragic in the Literature of the Romantic Period constitutes reflection about the functioning of the eponymous aesthetic categories in the Romantic period. Each of the articles contained in the volume engages the problems in question in a different way, which confers a cross-sectional nature to the volume and which enables the problem to be examined from different perspectives. An obvious advantage of the book has to do with the fact that the authors of the texts perform an interpretative analysis of the works and the problems which heretofore were not the subject of a comprehensive research work (as, for example, the literary output of Aleksander Groza or the comic and the tragic aspects of the term auto-da-fé).
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This publication shows a lexical richness of Polish language in the area of Brasław. In the dictionary, one will find interesting archaisms, and regionalisms, loan-words from Belorussian, Lithuanian, and Russian. The Part "Hasła rzeczowe" informs more thoroughly about the rural life, about Illness and medicine in the countryside, about traditional customs and beliefs, about religious practice and persecution of the Church in the area. The reader will also find some information about forced resettlements to Siberia and the harshness of life in the Kolkhoz reality.This book is designed for those interested in the Polish language and the region of Brasław. It can be interesting for the linguist, but also for sociologist and historian. It is a tribute to those, who protected their language and transferred it to their descendants.
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Nowatorska analiza tekstów kultury popularnej (powieści, opowiadań, filmów, komiksów itd.), które przedstawiają świat po zagładzie niszczącej cywilizację. Po przebadaniu ponad pół tysiąca dzieł Autor pokazuje, co mówią nam one o nowoczesnym społeczeństwie. W popularnych utworach dostrzega wyparte strachy i lęki, figury obcego, formy dominacji i represji, do których świadomie nikt nie chciałby się przyznać.Książka Lecha Nijakowskiego (…) to wielkie osiągnięcie intelektualne, najpewniej pierwsza tego typu praca w krajowej humanistyce, która nie ma także wielu precedensów w literaturze światowej. Jej ukazanie się będzie gratką zarówno dla specjalistów z kręgów akademickich, jak i fanów gatunku postapo, a tzw. zwykły czytelnik dowie się z niej, że wyobraźnia socjologiczna jest - jak pisał Charles Wright Mills - ”najbardziej potrzebną cechą umysłu„.prof. dr hab. Wojciech J. BursztaAutor stara się w swych rozważaniach przede wszystkim przyjmować pozycję socjologa - (…) głównym przedmiotem jego zainteresowań są społeczne wyobrażenia związane z tekstami postapokaliptycznymi, ulokowanymi w przestrzeni kultury popularnej. Trzeba przyznać, że autor konsekwentnie analizuje te wątki, wydobywając ich kluczowe schematy znaczeniowe.prof. dr hab. Eugeniusz WilkLech M. Nijakowski - dr hab., kierownik Zakładu Socjologii Ogólnej w Instytucie Socjologii Uniwersytetu Warszawskiego, stały doradca Komisji Mniejszości Narodowych i Etnicznych Sejmu RP (od 2001 roku), członek redakcji Przeglądu Humanistycznego, Studiów Socjologiczno-Politycznych oraz Zdania. Autor, współautor lub redaktor naukowy ponad 20 książek i kilkudziesięciu artykułów. Stypendysta Fundacji na Rzecz Nauki Polskiej (2004-2005), laureat m.in. Nagrody im. Stanisława Ossowskiego oraz Nagrody Naukowej Wydziału I Nauk Humanistycznych i Społecznych Polskiej Akademii Nauk im. Ludwika Krzywickiego. Ostatnio opublikował m.in.: Pornografia. Historia, znaczenie, gatunki (Iskry, 2010), Rozkosz zemsty. Socjologia historyczna mobilizacji ludobójczej (Wydawnictwo Naukowe Scholar, 2013).
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Autorka w kompetentny sposób i w szerokim ujęciu relacjonuje najważniejsze aspekty reakcji wschodnioniemieckich twórców na przełomowe w bloku wschodnim wydarzenia społeczno-polityczne. (…)Ciekawe rozważania Magdaleny Latkowskiej dotyczą wydarzeń 1956 roku. Poznański Czerwiec i polski Październik stały się już wcześniej przedmiotem zainteresowania polskich i niemieckich badaczy. Autorka wprowadza do dyskursu nowe informacje i poszerza go o wcześniej nieuwzględnioną (lub wykorzystywaną w ograniczonym stopniu) bazę źródłową. Bardzo ważnym elementem publikacji jest zwrócenie uwagi na XX Zjazd KPZR w Moskwie. W połączeniu z analizą recepcji wydarzeń na Węgrzech otrzymujemy kompleksowy obraz reakcji wschodnioniemieckich pisarzy na niepokoje roku 1956 w obozie socjalistycznym.Jeszcze większe zainteresowanie badaczy wywołały wschodnioniemieckie reakcje na rozwój sytuacji w Polsce w okresie Solidarności. Badając postawy literatów, autorka uwzględniła w tym kontekście dodatkowo pisarzy pochodzących z NRD, którzy wyemigrowali do drugiego państwa niemieckiego, np. Ericha Loesta, Wolfa Biermanna, Jürgena Fuchsa, Ulricha Schachta.Najważniejszymi i najlepiej ukazanymi spośród przedstawionych wydarzeń są niepokoje towarzyszące Praskiej Wiośnie 1968 roku. Pionierskie – w kontekście polskich badań – opracowanie w pełni ukazuje skalę różnorodnych reakcji związanych z publiczną działalnością literatów, sygnalizując przy tym ewolucję postaw skorelowaną z rozwojem sytuacji politycznej.Z recenzji wydawniczej dr. hab. Dariusza WojtaszynaMagdalena Latkowska, doktor habilitowana nauk humanistycznych w zakresie literaturoznawstwa, germanistka, adiunkt na Uniwersytecie Warszawskim. Studiowała w Warszawie, Tybindze i Berlinie. Opublikowała m.in.: Günter Grass i polityka (2008), „Pedagodzy socjalizmu” czy „wrogowie klasowi?” Pisarze z NRD wobec powstania czerwcowego 1953 oraz budowy i upadku muru berlińskiego 1961–1989 (2016, wydanie niemieckie w druku). Główne zainteresowania badawcze: literatura i historia niemiecka XX i XXI wieku, związki między literaturą a polityką w RFN i NRD, kultura pamięci.
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The following article has been written on the basis of historical, sociolinguistic and etymological study concerning the interaction of the Slavic languages: Polish and Ukrainian. The importance of this article consists in its pioneering study of paronyms and homonyms in Ukrainian and Polish, focusing on the etymological aspect, on the basis of a comparative approach to homonymic lexical units, which, in turn, reveals the importance of ‘false friends’ in the contemporary social life. The aim of this study, then, is to showcase selected homonymic and paronymic lexical units in the etymological aspect.
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The author of the book is interested in the ways and crossroads of contemporary poetry, the place where writers meet, and so do critics who read poems and prose committed to paper by others with greater or lesser satisfaction, with revelation or jealousy of their imagination. When new books – testimonies of the author’s readiness to present, to meet the “other,” to be present – are published, it is the literary critics who play their part, who fulfil their mission consistently and systematically or who reach for another book without any sense of mission or obligation, “extemporaneously.” A large part of Readings in Time concerns texts devoted to critical works and – following various methodological approaches today – to historical and literary ones. The texts selected for publication were published between 1993 and 2017, immediately after the publication of the books. It was important to approach them from the required reading perspective, as the material for later systematization. Reviews and critical commentaries were published in “Nowe Książki,” “Śląsk,” “FA-art,” “Twórczość,” “Kwartalnik Artystyczny,” “Opcja,” “Autograf,” “Akant,” and “Kursywa.” The author writes with conviction: here are the “writers” and “me” at the time, here am “I” and the “writers” right now.Th e section devoted to poetry opens with a commentary on an anthology juxtaposing poems by Young Poland’s poetesses, while the section devoted to criticism – with a text on cultural (im)maturity, which discusses a book by Ewa Paczoska, a researcher reviving positivist dilemmas, “images of the past,” most broadly speaking – the epoch-making testimonies of identity. The first part of the book closes with a review of a volume by Primož Čučnik, a poet, an observer of the constant “becoming of things,” and the second part with a review of a thematic (the issue of time) monograph by Aleksandra Zasępa on poems by Krystyna Miłobędzka, whose poetry is “here and now,” in which “the presentation of the present time, focused on active living in the present moment” prevails. The afore-indicated textual frames comprise reviews of books by reflexive poets, existentialists, “metapoetic” authors, passive and active participants of our everyday life. The poetic part features commentaries on the anthology of Coś własnego (Something Owned) and a volume related to Orientacja Po-etycka Hybrydy (a group of poets calling themselves “Hybrids”) by Andrzej K. Waśkiewicz (the author composed a lyrical treatise on the presence within the space of the Paradox of Great History, he ran the “calculus of loneliness”). The poets of “Hybrids” asked about the status of our presence, about the durability and appearances of certainty; they continued to count on the effectiveness of “cognitive verification.” Among those presented in the book, one can find: Krzysztof Karasek, Janusz Szuber, Kazimierz Hoffman, Piotr Matywiecki, Piotr Sommer, Aleksandra Olędzka-Frybesowa, Anna Frajlich, Małgorzata Baranowska. The sets of commentaries contain “subchapters” titled Siedem lektur (Seven Readings) and Wiersze ze Śląska (Poems from Silesia). The first one contains, inter alia, reviews of volumes by Krzysztof Lisowski, Józef Fert and Piotr Cielesz, in which we can hear eschatological tones and discern lyrical revisions to the theme of memory. The second set of commentaries opens with a geographical key: in the “Silesian” fragment of the book – with a view to the most ordinary and seemingly “festive” events, intensified emotions, limits of certainty and doubt – poems by Jola Trela, Ryszard Chłopek, Robert Rybicki, Adam Pluszka, Marian Kisiel, Barbara Gruszka-Zych, and Andrzej Szuba are discussed. The author of the book writes about time, memory, contemplation, impressions, and intellectual settlements. The critics and researchers of literature, who are introduced in the second part of Readings in Time through records from the interwar and post-war periods, made their way through the difficult moments of history (here, inter alia, one can find sketches about the publications concerning Zofia Nałkowska, the Paris of experimental poets called Skamandrites, Maria Pawlikowska-Jasnorzewska, Aleksander Wat, the avant-garde, Stanisław Lem, Zbigniew Herbert, Janusz Szuber, about editions of Władysław Broniewski’s Pamiętnik (Diary) and Publicystyka (Journalistic Pieces) divulging the “private” and “official” faces of their author). here are also notes on literary criticism books by Jan Tomkowski, Marian Kisiel, Karol Maliszewski, and Dariusz Nowacki. Readings in Time does not establish a canon – either private or, even more so, “universal,” with the conviction that a record of norms and standards is necessary, although the value and durability of opinions is also at stake here. These are simply testimonies of reading, reports, evidence of scrutinizing texts. In the scientific works and popular science source base, the author appreciates searching for (discovering) contexts, preparing subsequent literary panoramas of the modern day.
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