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The article exposes works of Jewhen Małaniuk, Ukrainian poet, who debuted in internment camp for soldiers of Ukrainian People’s Republic situated in Poland. Disappointment caused by Ukraine’s institutional impotence and also by disloyalty of Polish ally reflected in poet-soldier’s peculiar literary picturing, which was permanently affected by post-camp syndrome.
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The subject of the study focuses on the poetry of the Polish-French literature historian Zygmunt Lubicz-Zaleski (1882–1967). The reason for my research was the Polish edition (2016) of hispoetic cycle Relikwiarz buchenwaldzki (Reliquary of Buchenwald) which was created in the Nazi concentration camp Buchenwald (Germany) between 1943–1945 and until now was not widely known among the readers in Poland. Lubicz-Zaleski’s concentration camp poetry is presented within the context of looking at the nuances that the Polish and German prisoners’ of war collection of poetry shared about their ordeal while in Buchenwald. I also point out the domination of the German former communist prisoners in access to publishing within the German Democratic Republic after 1945 and because of this the lack of availability of French and Polish publications in East Germany. The main aim of the study was looking at Lubicz-Zaleski’s war poetry and its reception in a broader historical-political context.
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Notes of Załmen Gradowski, one of the leaders of the Sonderkommando revolt in Auschwitz-Birkenau, is one of the most important documents of the Holocaust produced by his victims during the crime and at its epicenter. Their fragments were published in Poland and Israel. Gradowski was a religious Jew from Grodno, he prayed daily in the camp and wrote down transport information. His family: mother, wife and children, immediately after arriving in Auschwitz, were murdered in gas chambers. The author analyzes the literary value of this extraordinary document, which consists of narrative diary entries and imaginative lyrical inscriptions, rooted in the Jewish tradition of conversation with God. So we read the records of the nature of the report and lament. This unique record – given its place of origin and literary values – a testimony of the crimes committed against and suffering of the victims of the Holocaust once again asks us about the inexpressibility of the Holocaust.
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This article discusses the testimony of Leon Weliczker (The Brigade of Death), who was at the Sonderkommando in the Janowska camp. Describing the daily focus on the removal of corpses Weliczker simultaneously reveals his ways of survival. Discourse on trauma focuses on its subsequent impact, in the case of the analyzed text we are dealing with an attempt to record the traumatic state. Using the psychological context, the author shows how Weliczker tried to minimize the impact of trauma using various mechanisms of controlling and displacing emotions.
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Opowiadania oświęcimskie (Auschwitz stories) by Maria Zarębińska-Broniewska were first published in a book version in 1948. All the texts included in the book, however, had been written earlier. The first ones were first released in a daily newspaper „Polska Zbrojna” („Armed Poland”) in early June 1945, just a few days after the author’s return from a concentration camp. They were one of the first accounts which concerned women concentration camps. The book which was published later included nine out of eleven short stories written by Zarębińska. The manuscript of the synopsis of the book was also saved. However, a very ambitious project of creating tens of short stories was not completed due to the author’s death. This article is a description of individual editions of Auschwitz stories in the years 1948, 1960 and 1971, which become better in form, but move away from the original project which was hidden in the handwritten notes.
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This article analyzes how the postwar accounts by female prisoners of Birkenau presented the character of Zofia Kossak, the famous writer and the activist of the Polish Underground State. The accounts are held today in the Archives of the Auschwitz-Birkenau State Museum and were hitherto unpublished. They shows Zofia Kossak in an unheroic way, contrary to the published testimonies of her camp experience. The accounts are reminiscent of the famous article Alice’s Adventures in Wonderland published by Tadeusz Borowski in 1947.
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Anatol Krakowiecki is the author of The Book on Kolyma – the memoirs from his stay in the Soviet concentration camp. The article introduces a profile of the author and of the most significant works of the Polish Gulag literature – its perception, contents and ideological message.
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The article is an attempt at interpretation of two essays, which may be called „lager” essays. These are Bark written by G. Didi-Huberman and Landscapes of the Metropolis of Death written by O.D. Kulka, their books are deeply related as the negation or at least as the questioning of the title of autobiographical book Anus mundi written by W. Kielar. Both authors do not describe Nazi concentration camp as „the anus of the world”. Their imagination is a post-imagination, their memory is a post-memory. In her paper Kuczyńska-Koschany considers the condition of the essay as quasi-genre after the Holocaust, after the genocide and in reference to the experience of a lager.
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The text contains an analysis of photographs and personal (written) documents by Elvira Kohn (1914–2003), a Jew and a female prisoner of Kampor concentration camp, established in July 1942 on Rab island in Croatia. The article explores the specific features of a narrative about World War II and the Jewish experience in Yugoslavia which emerge from the materials. Presented so that they complement each other, photographs understood as photo-texts (Marianna Michałowska) and a diary and a poem recognized as inconspicuous texts (Jerzy Strzelczyk, Inga Iwasiów) form Kohn’s personal narrative. The microhistory (Ewa Domańska) of this photographer and writer is presented as material supplementing the knowledge about the past of Jews in Yugoslavia, which – due to the choices Elvira Kohn made in her life and art – can also be considered as evidence of emancipatory social changes of that period, and as an example of overcoming the existing cultural paradigms.
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This article’s aim is to analyze David Albahari’s Götz and Meyer as the only Serbian literary text whose main theme is the extermination of the native Jews. The recurring key-word of the analysis is the notion of void, which appears both on the plot level and a more metaphorical one that connotes a less perceptible meaning of Albahari’s prose which can be summarized as a conviction about the insufficient memory of the Holocaust in Serbia. The main aim of this paper is to demonstrate what method Albahari employs to build his story. Consequently, juxtaposing history (ostensibly objective, linked with the order of reason) with fiction proves to be here of the utmost importance. It demonstrates that this text – indirectly – inscribes itself in the debate on the possibilities of expressing Holocaust.
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Media convergence and multimediality of message brought about a situation where journalists and editors of the content posted on the Internet are more and more frequently required to acquire the skills which have never been necessary for them before. It often forces them to become acquainted with professional software and information technology. On the other hand, availability of different databases and Internet applications provides journalists with possibilities of gathering, processing and visualization of data unheard of to date. The objective of the paper was a comparative analysis of selected Web applications generating interactive maps, data charts and diagrams, that may be useful in journalist’s everyday work, in the browser in an automatic way. The conducted research allows concluding that the tested applications may be applied in Internet, citizen or data journalism, that is wherever the concise and attractive form of data visualization is of primary importance.
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The existing biographical knowledge concerning Jan Gadomski in many cases turned out to be incorrect or inaccurate. Query in the archives allowed for new arrangements to be made. The article presents unknown biographical issues connected to the editor of “GazetaPolska”, analyse the authorship of the drama titled Larik and tracks Gadomski’s relationship with Maria Konopnicka. It recreates thespecificity of Warsaw intellectual elite at the turn of 19th and 20th century.
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The article is concerned with the study of poetic literary riddles of the XVIII century. The poetic literary riddles in focus are analyzedfor the first time. They were published by an anonymous author in the book “One hundred and one riddle” in 1790. The artisticfeatures inherent to this enigmatic genre in Russian poetry are described. The author provides detailed characteristics of the methodsused to create an enigmatic image. A thematic classification of riddles (cosmogonic, philosophical-symbolic, anthropological,animalistic and ethological) as well as classification of riddles by the type of the original description (attributive, relational andattribute-relational judgments) are provided. The subject-object and subject-address structure of enigmatic texts is considered. Thesemantic and structural-composition features of riddles indicate that the poet was guided by special pedagogical principles, placinga particular emphasis on the cognitive-heuristic function of the poems in focus.
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The article is concerned with the functionality of symbolic and practical space of the village house. Along with the practical reasonstextile valances on the windows and other places inside the house have a particular symbolic meaning. They act as “borders” separatingpublic and private zones. Hanging a valance the village peasants separate the space between a stove and a wall (“solnysha”) from the rest of the house area. Only a mistress (“bol’shukha”) of the house can enter “solnysha”. The sleeping area can also be partitionedby the textile valance (“polog”). The careless use of a valance by a girl who sleeps behind a polog on her own can be perceived bya young man as an erotic message. For a townsman, on the contrary, a closed door would be a habitual and evident sign of no trespassing.The door provides a visual and acoustical impenetrability for one standing behind it. Textile borders are more passable andsoft. This discrepancy determines responsibility for keeping familiar borders. When people use visual and acoustical impenetrability(closed door), this responsibility is reciprocal for both sides. When people use a textile valance for keeping a familiar space, theresponsible side is the one who looked behind the valance. A peeking person disturbs the border of the private zone. The researcherconcludes that a habit of not looking into the private zone is developed through ritual practices, which later are incorporated intothe everyday life. Herewith textile valances play a role of a special tool for practicing this habit. The second conclusion is related tothe gender aspect. In villages, the women were the ones who controlled the soft borders of private zones both in daily practice andrituals. The article is based on the materials collected by the author of the article during multiple expeditions to the Russian North(1984–2017).
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The article is based on the folk and ethnographic materials deposited in the archives of Karelia and Finland. For the first time in the nationalfolkloristics the image of yönitkettäi, the night weeper, is analyzed through the prism of the texts of mythological prose and magicspells, as well as beliefs and rituals. Firstly, the semantic interpretation and correct translation of the name, which has two meanings ofthe childhood disease and of the mythological figure, into Russian was the main purpose of the textological and comparative typologicalanalysis. Secondly, the figurative system and visual parameters, which are common to the spirit of night insomnia, were examined. Asa result, it can be concluded that yönitkettäi is not a single spirit. Its age varies and it can develop and improve its skills. The spirit is connectednot only with the world of the children, but also with the world of adults. This character is most often described as an amorphouscreature, although sometimes its descriptions bear anthropo-, zoo- and ornithomorphic characteristics. Some solar motives can also beobserved in its characteristics. The character’s connection with the elements of water, wild forests and domestic spirits is also identified.
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The purpose of the article is to reveal characteristic features of the image of Finland on the material of the Kjell Westö’s novel “Mirage38”, which was not previously studied by Russian literature scholars. The writer is especially interested in the turning pointssignificant for the whole Finland. The historical realities in the novel “Mirage 38” are combined with the description of the atmosphereof the prewar period. It was established that Westö’s image of Finland is based on the contraposition of the “our” and “others”, actualizedat several narrative levels. They are represented by the ideological differences, embodied in the polyphony of the voices of activeparticipants, and by the description of the language barrier between the Swedish and Finnish population of the country. The languagebarrier is expressed in the use of foreign words, which divides the main characters and creates some distance between them and thereaders. The writer also draws a parallel between the events of the 1938th and the time of the civil war, when the Finnish society wasdivided into two groups. The image of the protagonist turns into a connecting link between alienated citizens of the same country.
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The influence of mathematical mentality is defined by researchers as a main source of grammatical evolution of numerals. Theuniversal semantic content of numeratives, associated with the expression of the mathematical idea of a number, really makes theirpurpose for a variety of languages rather similar. Evolving semantically, the systems of numerals in their lexical composition areunified by the principle of terminological systems. The unifying thread and the scope of their formation strictly define the syntaxsequence of its components. The numerals are set in a single derivational model. The counting series, in which numerals performtheir main function, is a special text. Its elements have a semantic and formal influence on each other. In the process of numeration,numerals tend to the state of maximum isolation from the other parts of speech, usually the nominal ones. The tendency is manifestedboth in their semantic and grammatical characteristics. At the same time, the examples given in the article, show that the interactionof abstract-mathematical mentality and grammar can result in formal transformations. Such transformations are strictly specific foreach language and depend on a number of factors.
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The article accounts for the semantic features of the political immigration discourse on the eve of the referendum on the UK membershipin the EU in 2016. The author reveals and analyzes the argumentation strategy that forms the discourse of immigration andillustrates its use on specific examples. The relevance of such investigation is conditioned by the growing scientific interest towardphenomenology of political discourse and its various aspects. The analysis of publications helped to reveal the main argumentationschemes / topoi used by the newspaper for the argumentation of its position and validate the necessity for further research ofthe discourse on immigration. The need for further discourse analysis development aimed at the increase of the speech interactioneffectiveness in the political sphere is substantiated. The study of topoi and the identification of their semantic indicators made itpossible to identify characteristic features of the political discourse on immigration, as well as to determine the degree of politicalrhetoric’s effectiveness. Holistic understanding of the nature, causes and consequences of immigration requires a systematic analysisof all discursive strategies in a broad social context.
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The article deals with the genre and stylistic features of the travel sketches “Frigate Pallada” by I. A. Goncharov in light of the textformingrole of the lexicon. The lexicon analysis of the text helped to reveal a set of lexical group units organizing the text. It wasdetermined that the implementation of the text-forming function occurs differently: in a linear or a nonlinear way. The vocabularythat implements this function in a linear way includes ethnonyms, toponyms, names of exotic realities, the regional language andmarine language. The lexical units of these groups are evenly distributed around the text and form the lexical “core” of the work. Thevocabulary that implements this function in a nonlinear way includes key words of those parts of sketches that contain the author’sconceptual vision of the world’s image (in particular the lexical units relating to the semantic center formed by the ethnonym Britishand an adjective English). The vocabulary of both types makes up the sketches’ genre and its stylistic originality and reflects twostages of knowledge – observation (fixation of the real objects, which have appeared in sight of the traveler) and reflection (processingof the received facts, their classification, and conclusion making).
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