We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The article presents the role of modern Polish prose in the process of teaching colloquial phraseology used in nonofficial, spontaneous language contacts to Ukrainian-speaking students. The types of exercises based on four authentic modern Polish novels by Joanna Fabicka are included.
More...
In this article, I focus on poetic material as a particular mode of language organization. Poetic abridgement condenses the linguistic picture of the world without reducing its complexity and internal dynamics. In the texts of such artists as Krynicki, Herbert, Szymborska, Świetlicki, and Bonowicz, we can observe interesting strategies of employing the word, which can be considered a peculiar language laboratory and perfect vocabulary-building material for use in the process of teaching Polish as a foreign language.
More...
The article is devoted to the linguistic image of an angel – a good spirit – depicted in the lyrics of contemporary secular Polish songs. The analyzed research material included 70 lyrics of songs released in the period from 1985 to 2012. The songs represent different music styles: from pop and folk music to blues and sung poetry to hip-hop, various genres of rock and so-called gothic metal. The analysis of the linguistic image of those supernatural beings involved the following categories: 1) appearance, 2) location, 3) features, 4) functions, 5) emotions and behavior. Special attention was paid to the figure of a guardian angel and its unusual variant – a winged protector who no longer fulfill their duties, as well as ‘humanized’ angels, resembling humans in their physical and behavioral characteristics. It was stated that the figure of an angel in the analyzed lyrics is characterized by extensive functionality. The linguistic portrait of that spiritual being is an interesting combination of concepts present in the collective consciousness (to some extent originating in the Bible and angelic iconography) and individual ideas developed by the songwriters.
More...
Tradycja pisania książek do nauki języka polskiego jako obcego sięga XVI w. Początkowo były to zbiory rozmówek, gramatyki i listowniki wzbogacane tytulaturą oraz wiadomościami praktycznymi, np. zestawieniami miar i wag. Podejście praktyczne było cechą charakterystyczną wielu książek do nauki języka polskiego, co wiązało się z ich odbiorcami, tj. młodzieżą mieszczańską, przygotowywaną do zawodu kupieckiego oraz rzemiosła. Wspomniane treści nauczania dominowały w podręcznikach do połowy XVIII w. W późniejszym okresie daje się zauważyć wyraźną zmianę formy i tematyki zamieszczanych w tych książkach tekstów. Zaczynają pojawiać się krótkie formy prozatorskie, a także krótkie utwory dramatyczne. Bardzo wyraźna staje się tendencja moralizatorska. Jednocześnie wprowadza się elementy wiedzy o świecie: podstawowe informacje o zwierzętach, geografii, astronomii, stratyfikacji społecznej oraz wiadomości na temat gospodarstwa domowego, rolnictwa itp.
More...
The article “In Your Synthesis the Signal Condenses:” The Plastic Poetics of the Contemporary Organic Poem” examines contemporary poets’ revisionary engagements with the concept of the organic form. For the analysis I have chosen Adam Dickinson’s Polymers (2013) and Kacper Bartczak’s Wiersze organiczne [Organic poems] (2015) – the two recent innovative volumes of poetry which approach the notion of organicity via the conceptual metaphor of plastic. The poets take up Roland Barthes’ challenge, as formulated in his Mythologies, to engage with the contemporary mythology of plastic and to reclaim for poetry the infinitely transformative potential of synthetic forms. Barthes looks into the “negative reality” of plastic, observing that, “in the hierarchy of the major poetic substances”, plastic is perceived as “a disgraced material”, a mere substation for the original, “something powerless ever to achieve the triumphant smoothness of Nature” (98). “[M]ore than a substance,” the philosopher claims however, “plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible. And it is this, in fact, which makes it a miraculous substance: a miracle is always a sudden transformation of nature”(97). Using plastic at once as a metaphor and formal frame for their most recent collections, Dickinson and Bartczak experiment with its proliferating, ubiquitous, flocculent and repeated structures, as well as its contradictory nature which thrives in the tension between the natural and the artificial, the original and the imitative, the malleable and resistant, the shaped and shapeless, the colloquial and the scientific. As I argue in the study, Dickinson sees plastic as both outdated and futuristic form, and a curious and ubiquitous language of the contemporary Anthropocene capable of “recreating the world as an alternate and translated reality” (The Polymers). Bartczak, in turn, pulls us into “a translated reality” of his “organic” poems in which highly condensed, opaque and stratified metaphors flaunt their artifice, revealing the obsessive discursive pollutions and transformations of language. Plastic incorporates the inherent paradoxes of organic form in which the notions of completeness, perfection and unity are interwoven with their opposites – temporality, process, contingency and becoming. This doubleness, as evidenced in Bartczak’s and Dickinson’s poems, proves particularly productive for addressing the aesthetic, ideological and epistemological challenges of contemporaneity
More...
Wchodzące w skład Tryptyku rzymskiego części otrzymały nie tylko wspólny tytuł główny, ale także podtytuł: Medytacje. Podtytuł ten jest bardzo znamienny, określa bowiem gatunek (typ) tekstu, jego cele (funkcje) oraz wyznacza stylistyczny charakter utworów poetyckich wchodzących w jego skład. Zatrzymajmy się zatem chwilę nad tym słowem. Jak podają słowniki języka polskiego medytacja jest leksemem nacechowanym stylistycznie: książkowym oraz religijnym i znaczy: ‘zagłębianie się w myślach, zamyślenie się; rozpamiętywanie, rozważanie, namyślanie się’; ‘czas przeznaczony na modlitwy i rozmyślania religijne; drukowany zbiór takich rozmyślań’.
More...
It is in the Bible that Jan Twardowski's entire creation is rooted, and for this reason the characters that appear most often are those of Christ and the Virgin Mary. The poet paints them in a humane and simple way. It breaks patterns and conventions to give primacy to naturalness and simplicity.
More...
The novel „Silva rerum” has become a bestseller in Lithuania, although it seems that – as a work contesting the Lithuanian national myth – it did not stand a chance to gain such popularity. It was issued for the first time in 2008 and several re-editions have been released so far. The story of the noble family of Narwojsz, presented in „Silva rerum” covering the years 1659–1667, turned out to be extremely attractive not only for the Lithuanian reader. The novel has become a bestseller also in Latvia and Estonia. In Poland, it did not get such a large publicity, however – perfectly translated into Polish by Izabela Korybut-Daszkiewicz and published in 2015 – it gained great attention of readers and critics. The author of the article wonders what features decided about the reading success of „Silva rerum”. She analyzes the baroque stylization of the novel, in which, on many levels, the excess meets with asceticism. She looks at the phenomenon of micro-history, which consequently pushes the “great history” to the background (which is unprecedented in the tradition of the Lithuanian historical novel). She shows how Kristina Sabaliauskaitė transforms the authentic space of Vilnius, capturing the specific genius loci of this city and masterfully combining fiction with geographical and historical reality.
More...
Referring to the symbols and myths connected with a mirror, the author of this essay presents Polish translations of Brazilian and Uruguayan poetry and Brazilian translations of Polish poetry. Selected poems that refer to the mirror inspire multicultural reflection on the translation process, the meaning of the poetry and human condition.
More...
Poet and aphorist Gustaw Sajdok (12. 1. 1935 Bystřice nad Olší – 11. 11. 2002 Český Těšín) was one of the most popular contemporary writers from the Polish national minority in the Czech Teschen region. Besides poetry and aphorism for adults, he was known as the author of poetry for children. The author of the article focuses mainly on the basic civilization values that the poetry of Gustaw Sajdok brings into his poetry and how this poetry represents their current crisis. Sajdok was also an excellent author of poetry for children, but the author of the article does not pay attention to this issue, but it is a theme for the future.
More...
It is not a coincidence that urban fantasy is being identified with modern, futuristic metropolises. On its streets, two worlds are juxtaposed: the real and the magical. Unlike the first one, the latter is concealed in shadows, hiding elves, vampires, and other magical creatures from the watchful eyes of ordinary citizens. Only a handful of informed humans have the right to step into this world, which is presented only to the select few. The author of the article Guns and Hats, or a Drowner on a Bicycle: On the (Retro)Industrial Adaptation of Urban Fantasy Subgenre distinguishes between three main tropes of the eponymous convention: a presence of the city, a coexistence of magical and empirical world, and an influence of organisations guarding the secret of the otherworld. All three mentioned tropes are exemplified in two contemporary fantasy novels—Adam Przechrzta’s Adept (The Adept) and Charlie Fletcher’s The Oversight, both set in the nineteenth-century fictionalised reality, which bears resemblance to urban fantasy subgenre. In the end, nineteenth-century city turns out to be the best locale to set a fantasy story that addresses the primary sense of urbanization.
More...
Writers draw inspiration from many sources, including history, other works, and religions. The last of these elements I am interested in in this article. It is particularly widespread in the fantasy writer, despite the controversy it arouses. There are many ways of making references to religion in fantasy, I am introducing the most popular of them, supported by examples from Polish literature.
More...
W Polsce co roku ukazuje się kilkaset komiksów. Większość z nich pochodzi wprawdzie z zagranicy, sporą część stanowią jednak utwory rodzime. Reprezentują one wszystkie odmiany gatunku, sytuacja wygląda więc na ustabilizowaną. Komiksożercy mają wreszcie powody do zadowolenia.
More...
The article is devoted to the analysis of nonverbal means of conveying emotions in Polish and Russian cultures. Body language employs such tools as look, glance, mimics, change of the face colour, tears, voice, gestures and body movements, as well as diverse untypical activities and behaviour. In strong emotions, the speaker uses different nonverbal means, what gives more complex picture of his or her emotional state. The most vivid and meaningful ways of nonverbal expression are mimics and look. Eyes are perceived as the mirror of the soul in the cultures under investigation, thus it is believed that they can never lie. Nonverbal signs can either confirm the verbal message or modify it.
More...
The subject of the following rhetorical analysis is Józef Piłsudski’s speech entitled „Przemówienie na bankiecie z okazji wprowadzenia orderu “Virtuti Militari”” [Speech Delivered on the Banquet of Introducing The Order of “Virtuti Militari”], made on 22.01.1920 at the first meeting of the Chapter of the Order. Piłsudski’s speech at the burial of Słowacki’s remains in the crypt at Wawel Cathedral was “a masterpiece of the art of oratorical art.” The same level of mastery can be grated to the speech delivered at the first meeting of the Chapter of “Virtuti Militari”. It is not only Piłsudski, as an author, that links the two speeches, but also the fact that both of them were delivered at important historical moments: the first one is the speech of the creator of the independent Republic of Poland, the latter – a speech of the creator of the independent Republic of Poland, who rescued the Polish state by carrying out May Coup. Still, what is the most important in rhetorical interpretation is the same outstanding ars verbis that linked them, highlighting the relativity of the opposition poetry-prose.
More...
This article suggests possibilities of reading novels by Tadeusz Konwicki, Andrzej Kuśniewicz, Piotr Szewc and Paweł Huelle through the prism of environment-oriented studies on the Shoah. Where Polish narratives of the Holocaust are concerned, Tomczok proposes, the years 1986 and 1987 saw not only a breakthrough in terms of politics and worldview, but also a shift in writers’ perception of climate change and the rapid degradation of the environment. Building on studies by Eelco Runia and Hans Ulrich Gumbrecht, Tomczok reads natural disasters as metonymies of the Shoah – metonymies that point to the extermination of the Jews while also reflecting on contemporary threats to the natural environment. Tomczok’s proposition to relate these two perspectives draws on Harald Welzer’s Climate Wars: What People Will Be Killed For in the 21st Century. The article also contextualizes selected novels by the above-mentioned writers with Polish climate research conducted in the 1980s at the Institute of Meteorology and Water Management – National Research Institute.
More...
Review: Małgorzata Wójcik-Dudek, W(y)czytać Zagładę. Praktyki postpamięci w polskiej literaturze XXI wieku dla dzieci i młodzieży [Reading the Holocaust: Postmemory Practices in Twenty-First-Century Polish Literature for Children and Young Adults], Wydawnictwo Uniwersytetu Śląskiego, Katowice 2015.
More...
Analysing the work of Leo Lipski from a psychoanalytical perspective, Borowicz points out three moments of trauma: the experience of the Holocaust, camp and wartime experiences, and the progressive decay of the body. The constructed subject’s response to trauma lies in the emergence of perverse structures of memory and creativity, as well as of sexual relations. Borowicz polemicizes with earlier statements inscribing Lipski into the humanistic discourse on Holocaust survivors: a discourse that revolves around contentment with the passive role of a victim while silencing hate and vengeance through their inclusion in an uninterrupted historical narrative.
More...
Tabaszewska reads Eugeniusz Tkaczyszyn-Dycki’s poetry alongside questions of tradition and cultural memory. She points out three main characteristics: the unique language, which draws on repetition and looping, the subject’s strong affective engagement, and the poet’s unique ability to convey the past and memories of the past in thoroughly contemporary images. She analyses these characteristics in the context of two theories: Marjorie Perloff’s non-original avant-garde and the poetics of memory. Tabaszewska concludes that the concrete motifs to which Tkaczyszyn-Dycki returns in his works, and on which his memory and poetic language come to loop, are places of affective repetition and memory jamming as it remains unable to come to terms with events that have not been worked through. Successive memory turns suggest an improvement, an editing of those events – not in order to change their meaning, however, but to make them expressible through the conventional language of poetry.
More...