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Aesthetics, the field of philosophy, is understood as the science of aisthesis – the sensual cognition, but also as a reflection on beauty, art, experiences and criticism. In both cases, the esthetician can learn a lot from blind people, because their use of senses other than eyesight is peculiarly precise and even amazing for sighted people. The senses of hearing, smell and especially touch play a cognitive role, which is often forgotten today, particularly in times when they are separated from their sources or even prepared in an artificial way. Reflection on the perception of the world by blind people may lead to the conclusion that it is much more concrete and “more powerful” than the seeming world of sighted people as Johann Gottfried Herder noted in the eighteenth century. This causes problems for people who try to translate reality perceived mainly with the help of sight to the language of other senses. Understanding and feeling these kinds of cognition requires the efforts and, above all, it takes time.
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The article deals with an issue of audio description (AD), verbal description of visual content, transmitted with the use of the auditory system to visually impaired people. The analysis covers audio description of works of art. The paper presents the origins of AD of fine arts in Poland and across the world. It describes types of audio description in museums and principles of its creation. Another discussed issue of borrowing visual sensations through haptic, kinesthetic or olfactory senses that accompany AD. The reader may find examples of audio description from Łódź museums: the Museum of Art in Łódź (ms1, ms2, Herbst Palace Museum) and the Museum of the City of Łódź.
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Social integration and activation of people with visual impairment is one of the most important challenges in modern democratic countries. Due to the rise of awareness, there has been an increase in number of projects undertaken by cultural institutions to enable visually impaired consumers receive culture in a broad sense. The process is vital because, culture has become more and more visually oriented. Audio description (a way of translating visual to auditory) is one of the best ways to enable blind people to receive sport and theatrical events but also exhibitions and works of art. The main problem discussed among specialists in the field right now is the question of objectivity, that should be the main rule to follow, while creating a description and what how it should be used. Another vital issue is the participation of people with visual impairment in the cyber environment and exploring the ways in which state of the art technology can help the efforts of audiodescribers, museums and art galleries in matters of enabling. For several years prof. Aneta Pawłowska from the Department of Art History at University of Łódź, has conducted a research project which main aim is to provide audio descriptions for a number of museums in Łódź. The main aim of constant drive for improvement, interdisciplinary character of the works and the cooperation with Department of Spanish and Faculty of Physics and Applied Informatics is to research audio description as a method of enabling, teach it’s basics to the students and create descriptions for cultural institutions in Łódź.
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The article points out some dangers that stem from the comparison of audio description (AD) to ekphrasis. The comparison has been proposed by Robert Więckowski and since then used in the Polish literature concerning the topic. Emphasized are the differences in the reception of the two literary forms: ekphrasis encourages mental visualisation based on the recipient’s own experience, while AD is to evoke aesthetic experience also among people whose imagination is devoted of visual qualities. The two forms of description have other goals as well: ekhprasis aspires to become an autonomous literary work, whereas AD is only a tool directing to the art piece. The reflections proposed are initiated in the practical experience of a text-writer, but come back to the general problems concerned with the goal of AD and its relation to the work of art.
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In the contemporary art gallery the visitors with visual or hearing impairments seek the personal contact with educator much more than high-tech guiding systems. Whereas in museums guiding systems are the best solution. Why is that so, and how the Zachęta – National Gallery of Art staging only temporary exhibitions, faces the task of making over twenty exhibitions a year accessible, we will explain giving examples.
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EU directives or the need to build a wide audience are the main reasons why museums take action to make their exhibitions available to people with disabilities. However the experience of the Museum of City of Łódź related to the dissemination of fine arts, shows that cooperation with people with disabilities is not only a need to adapt to top-down requirements, but also creates a number of educational opportunities for employees and museum guests without disabilities. Projects presented in the paper – implemented by the Museum of the City of Łódź in 2013–2016 – are an example of efforts to adapt the museum’s space to the needs of people with visual and hearing impairments, as well as other types of disabilities. Their analysis – made both from the perspective of a museologist and an educator – presents the opportunities and difficulties associated with cooperation with disabled people and the potential of using the museum space in special pedagogy. Critical evaluation of the tasks carried out may be a commentary on the problem of hidden segregation and inadequate integration of disabled people and thus underline the advisability of applying the principles of universal design and inclusive education.
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The paper presents dynamics of communicative discourse across time and the profiles of contemporary Computer-Mediated Communication users against traditional communication contexts. The first part focuses on a comparison of the two types of communication and the processes of their hybridisation taking place in the Internet space. In the second part interactional computer communication models are presented in terms of emerging CMC varieties.
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The aim of this article is to present linguistic and paralinguistic ways of expression in Internet comments posted by YouTube users under the song Co mi, Panie, dasz, arranged by Adam Sztaba during the isolation caused by the coronavirus pandemic. Internet users emphasize the multitude of experiences that accompany them while playing the song, exposing positive feelings: pride, emotion, admiration, respect, gratitude, surprise. In order to express positive evaluation in the comments, lexical, word-formation and graphic measures as well as stylistic figures are used. They are used primarily for hyperbolization.
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Modern communication employs different semiotic codes: text coexists with image, sound, movement, gesture. The syncretism and hybridization of form is possible thanks to technological progress and new media. This text aims to trace the interrelation of language with other semiotic systems in the context of various forms of expression present in the multimodality of new media.
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The paper deals with language on the screen in a twofold sense. First, the focus is literally on language that is represented in its visual form, as text that the receptor retrieves from the screen. Second, in a broader sense, we are dealing with language “on the screen” coded more prototypically, i.e. aurally, as utterances in the audiovisual product. The paper’s point of departure is to isolate two general phases in the process of translatorial decision making. The first phase consists in identifying the problem which is the subject of decision making. In the second phase a decision is made with respect to that problem. This generalised formula makes it possible to explore the hypothesis that in interlingual translation – in our particular case additionally of multimodal character – the task of selecting the target variant can be relatively easy when viewed against the challenge of realising that there is an element to potentially be decided upon.
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The article deals with selected aspects of the functioning of urban space in language and culture, which was illustrated by the example of the city of Bydgoszcz. Statements presented in the article, as understood by the author, may be to a certain extent related to the linguistic and cultural space of other Polish cities in general. The article is, on the one hand, a review of existing approaches, accompanied by theoretical and methodological remarks, and on the other – a proposal of new research perspectives. The concept outlined in the article leads to the conclusion that both linguistically and linguistically-culturally captured urban space is a complex semantic (semiotic) structure, resulting from factors of various nature: history, geography, demography, cultural trends, technological achievements, etc., as well as from the type of a cultural text taken as the basis for reconstruction of meanings. Thus, the language(s) functioning within a given urban space, as well as its language images or stereotypes of its inhabitants, in comparison to any other city, on the one hand, can be characterized by the similarity of exponents representing nationwide language development trends, and on the other hand – by a number of peculiarities, including those rooted in stereotypes. The outlined research perspectives should encourage further linguistic and linguistic-cultural studies on the phenomenon of urban space, which is constantly dynamic and open.
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The present article analyses the sociolinguistic situation in Spain in terms of minority, non-hegemonic languages in relation to Spanish. As the Constitution of this country points out, there are legal grounds for creating a de iure multilingual state, but if one delves into the issues, one can wonder whether one can speak here of multilingualism at all.
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The paper discusses major theoretical, methodological and terminological developments in European and American studies on linguistic borrowing. Contact-induced innovations have been an object of linguistic inquiry since the late 18th century, which over a century later developed into contact linguistics, a fully-fledged subdiscipline of linguistic research. The paper reports on the turn-of-the-21st-century shift from traditionally structuralist, word-oriented description of contact-induced phenomena, aimed mainly at their lexicographic treatment, towards a concept-oriented cognitive-onomasiological viewing of the borrowing process and its outcomes, which followed on research developments in general linguistics. Latest loan research methodologies exploit corpus linguistics tools and the sociolinguistically and pragmatically oriented usage-based approach as well as experimental set-ups.
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Despite the anciency of the question of how language emerged, it was only in the 1990s that language evolution began to take shape as an independent and fully-fledged field of study. This paper aims to make the reader familiar with the most recent changes and research aspects that we see as having had the most transforming influence on the science of language evolution over the past decade: an increase of interest trends in this relatively new field of research. We address three in the topics of multimodality and iconicity (with an increasing involvement of experimental studies), the use of new types of data and ways of acquiring data (in particular, enabling statistical inferences from big datasets), and – last but not least – key identity-forming institutional changes, such as the foundation of specialised conferences and journals.
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The aim of the article is to offer a linguistic reflection on the linguistic character of collective memory and collective remembrance. To this end, we will present the sources of inspirations for linguistic research that lead us to findings about the essence of collective memory in the light of ethnolinguistics, genre studies or discourse linguistics. Moreover, we will reflect on the process of collective remembrance studied from the linguistic perspective, and, consequently, on the category of time and place in this process.
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Behavioral disorders stemming from the brain injury have long been treated as a natural experiment, owing to which the facts, normally highly complicated, appear in an elementary, broken-down form. The field of experiments in the studies on linguistic behaviors is thus descriptions of aphasic disorders. The repertory of problems that are part of these studies is very broad, the more so that the development of clinical procedures, the increasingly frequent attempts to develop a theory that would explain language disorders occurring in aphasic patients as well as the need for the treatment of aphasic speech disorders caused representatives of different disciplines, including linguistics, to be keenly interested in this problem. The article presents the main directions of interdisciplinary studies on aphasia, the evolution of the views on the brain-mind-language relationship, as well as the changes that have taken place in interpreting the phenomenon of aphasia and in assessing the linguistic abilities of aphasic persons.
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The article discusses the function of paradigms (as introduced by Kuhn) for researching language and linguistics, concentrating on the issue of relevance of paradigms for linguistic research, the competition of paradigms and their mutual relations. The author postulates the existence of three possible paradigms in the study of language: the formal paradigm (where language is considered to be a formal object, as in some strands of Structuralism, and early work by Chomsky), the mentalist paradigm (language as an instrument of thought, Chomsky’s more recent theories), and the communicative paradigm (language as an instrument of communication, various pragmatically oriented approaches, and also discourse studies).
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This article attempts to diagnose endeavours facing the post-pandemic humanities, and it provides an overview of humanities and its capability for temporal transgression. The author discusses philosophical theses about the nature of time and temporal experience (born within Existentialism), which is the starting point for presentation of the temporal transgression’s challenge present in the humanities, in terms of labour, activity, and anagogy. A brief review of relevant philosophical stances allows for proposing a term ‘tender humanist’ (modelled after ‘tender narrator’ by Olga Tokarczuk). The author believes that this term perfectly reflects a methodological attitude consisting of empathetic and sympathetic opening on messages and meanings flowing from literature, both that written in the past, as well as science-fiction literature, designing the future.
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The article explores the communicative role of state ceremonial during high-level visits. It compares the execution of protocol elements from the official program of Ukrainian President Volodymyr Zelensky’s series of consecutive visits to four European countries from 6th to 8th July 2023. The research interest lies solely in protocol decisions as gestures and messages in the realm of nonverbal communication. The comparison across countries aims to objectively discern the communicative signals emitted by the execution or non-execution of established protocol rules and ceremonial practices. A direct conclusion related to the produced communication effect of the conveyed protocol messages during the four visits is the significant disparities between one of the host countries and the other three. In a broader sense, it can be noted that the visual “language” of the ceremony has become an increasingly significant factor in the contemporary communication environment. On the one hand, it sends unequivocal messages, and on the other hand, it aligns with the most current media and audience demands – for a quick, attractive, easy, and simultaneously reliable interpretation of events and processes.
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