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The aim of this paper is to present some fi ndings resulting from the analysis of a small learner corpus of spoken English. Major attention is paid to the frequency of non-fi nite verb forms in their varied syntactic functions. The results are compared with corpus fi ndings presented in Biber et al. (1999 ) and also assessed according to contrastive interlanguage analysis (CIA), (Granger, 2009), which can help us estimate the possible infl uence of the learners´ native language (L1), Czech. The CIA analysis is based on the typological differences between the students’ L1 and L2 (Mathesius, 1975, Knittlová et al, 2010, Dušková et al, 1988, to name a few). The third aim is to suggest possible innovations in advanced language teaching/learning of the English language. By reducing the L1 transfer, the students´ performance could become closer to English native speakers´ norms.
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The paper proposes to present the design of a new course, the aim of which is concerned with the functional syntax and vocabulary in the English-Czech comparative approach. It offers students a functional comparison of the two languages in which they will be able to apply the knowledge acquired in the bachelor programmes of English studies against the background of their mother tongue, i.e. the Czech language. After completing the course the students will be able to functionally distinguish the main features of English and Czech (with the emphasis on syntactic and lexico-semantic plan in both languages) and to use this linguistic expertise practically in the production of written English or in translation. The paper outlines the key syntactic and lexico-semantic areas which were identifi ed as potential causes of interferential problems and which thus compose the core of the course syllabus.
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In the autobiographic story "Little Pole in Asia Minor", Andrzej Zieniewicz, a contemporary literature historian with an air of detachment, describes his glottodidactic experiences in teaching Polish language to the Turks. As in his research papers, in "Little Pole…" Zieniewicz proves that the author is still present in the artistic work, reveals himself and provokes the reader. This is because the subject of the narrative is literary expressed experiences, thoughts and imaginations of the author. In prose described as silva rerum, these experiences are fragmentary and subjective. The author is a figure prior to the narrator, and the matter of the narrative itself is inconsistent, incoherent and fragmentary reality of human cognition.
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The article argues that calling Czesław Miłosz a popularizer of Polish literature and language is fully legitimate. The author presents arguments which corroborate this statement, describing the poet’s initiatives dedicated to promoting Polish literature and language. In the paper, the following aspects of Miłosz’s activity have been described: his literary work, created solely in Polish and often devoted to the author’s native language, his professional activity as a professor of Polish studies at Berkeley, including the authorship of the textbook of Polish literature for foreigners, and his translation accomplishments, namely numerous translations of Polish poets’ works, several published anthologies of Polish poetry in English and educating future translators of Polish literature. Miłosz’s excellent sense of needs and interests of foreigners studying Polish has been particularly emphasized in the article, as it conditioned the success of his prolific activity within popularization of Polish culture.
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This article constitutes another part of my research on the history of teaching Polish as a foreign language in the world. My focus is on the first summer course in Polish culture and language for foreigners, organized in September 1928, which was dedicated specifically to the Italian group of professors and students of Slavic and Polish philology. I also explore a very dynamic growth of Polish studies in Italy in the 1920s and 1930s.
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The Sustainable Development Goals include tasks aimed at improving life in the most important areas of human activity. Their implementation is necessary for the present and future generations to be able to use the broadly understood resources of the Earth in sustainable and conscientious ways, to enjoy a good quality of life, to support each other and create equal opportunities. The article attempts to answer the question of whether Polish as a foreign language can become a pretext for the implementation of selected Sustainable Development Goals. The article analyzes the assumptions included in the 2030 Agenda, and then focuses on those tasks aimed at “transforming our world”, which may function as inspirations toward the creation of didactic materials on language courses. It also explores the selected criteria for choosing a literary text for classes consisting of foreigners. After strictly theoretical considerations, the author refers to the classical theories of ‘the rites of passage’ explored by Arnold van Gennep and Victor Turner. These theories become a germane tool for describing the condition of a person who leaves his/her country in order to live in a new culture and create his/her identity anew. We can observe such stages in the life of the main character of Joanna Bator’s novel “Purezento”. Certain fragments from the text – particularly those devoted to kintsugi – the Japanese art of repairing ceramics, and in the metaphorical sense the art of filling scars with gold, transforming trauma into beauty, become an inspiration for the author to pursue the Sustainable Development Goals in Polish classes with foreigners. In addition, she suggests a number of tasks that may be used for students working at C1 level.
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This article is an analysis of Jarosław Marek Rymkiewicz’s last book of poems. The poet has often expressed sharp and divisive political opinions. Although his literary works frequently constitute controversial manifestos, such statements do not appear in "Metempsychoza". These very personal poems speak about the universal problem of dying, thus uniting readers and involving them in the text. This volume seems to be a new peculiar version of "Dziady": Rymkiewicz both performs the ritual communion of the living with the dead, and creates a text that can be read as an attempt to transcend the work of Mickiewicz (with whom he was fascinated and to whom he devoted many books). The poet uses myths, plays intertextual games with the works of other poets, builds an interesting rhythmic form of an octostich. Thanks to these procedures, he distracts the readers’ attention and hides himself – the main character of these poems – a man who meets his own death. "Metempsychoza" becomes a moving testimony of dying – daring and masterful.
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Polish contemporary art, including art in public space, in addition to all its functions (such as expressive, symbolic, ludic, cognitive or critical), can also play a diagnostic role for the condition of Polish society. Art in Poland is a field of ideological disputes, and frequently divisions and scandals resulting from an overly literal reading of meanings or looking for one-sided associations. On the other hand, artistic creation provides examples of activities that integrate, engage and produce social effects. Presenting artifacts and topics raised by artists provides an opportunity to show foreign audiences these issues, which are vivid and discussed in Polish society in relation to their own worldviews and native culture, and allows to create a space for intercultural dialogue.
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This article presents foreigners’ encounters with Polish music on the Internet. Among them are people interested in Polish culture and language, who learn to improve their language skills using music, as well as users who simply come across Polish music among rich global cultural offer. At the core of the research into the online reception of Polish music is the assumption that teachers using popular culture references in their classes should be able to identify the interests and needs of the ever-changing popular culture audience. The research was limited to YouTube.
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The author starts with a general outline of the speech therapy’s and literary studies’ perspective of reading the text by a writer with aphasia. The main part of the article discusses the strategies adopted by Leo Lipski and Sławomir Mrożek for recovering – learning – language(s) after both writers experienced this speech disorder. The author discusses and compares these strategies, functionalized and thematized in the literary and the autobiographical works of Lipski and Mrożek, and in this attempt she refers to published texts as well as the archives. Contextually, she also reconstructs the problems of multilingualism and emigration related to their works. The author concludes that, despite many differences between the experiences of both writers, the methods of learning Polish after suffering aphasia, which were adopted and described by them, are very similar.
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The article presents the concept of Polish Russophobia and shows its various realizations using examples of literary texts from the Romantic era, with the assumption that it was this era that shaped the native pattern of culture, changed and exploited in moments of crisis. The text comprises a spectrum of attitudes and topoi in the literature and epistolography of bards – the victim figure, divine punishment, martyrology and messianism, patriotic vampirism and historiosophical solutions to the Russian problem – which maybe the basis for foreigners’ understanding of Polish culture.
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The article outlines the longue durée of Poland as imagined in France and France as imagined in Poland in literary representations and political discourse over 500 years of mutual relations. The most important topoi resulting from the first “clash of cultures” (on the occasion of the Polish election of future Henry III of France in 1573), present to this day in impossible farewells and returns and in the scheme of binary oppositions (Enlightenment – Romanticism, modernity – non-modernity, rationality – irrationality, civilization – barbarism, entire Europe – another Europe), are analyzed.
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The main thesis of this article is that the new Polish lexis, created after 2000, documents the dynamic changes taking place in the Polish lifestyle and therefore may be used to present contemporary popular culture to foreigners. This thesis is verified by discussing, according to the thematic criterion (e.g. FITNESS, FOOD), 10 groups of new words registered in the dictionary of neologisms of the Language Observatory of the University of Warsaw, and then by indicating the relationship of their meaning or form with the current cultural trends described by researchers. In the end, various suggestions for the use of the new lexis in Polish as a foreign language classes are given.
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The article is devoted to the use of the concept of languaculture in Polish language teaching – its indispensable part is the teaching of a language understood as a basic cultural fact. The text consists of a description of reflections on the title issue, a presentation of the ways of combining the linguistic and cultural components in selected didactic materials, and a conclusion. The reflections on the place of languaculture in the process of teaching Polish were based, inter alia, on selected publications of linguists and glottodidactics. Attention was paid to the multitude of reflections and studies on the cultural background of lexis, which can be used in the teaching of the Polish language and culture as foreign. The article also presents selected methods of including linguistic content in two textbooks – “Zdaj się na polski!” and “Gramatyka z kulturą”. The authors included linguistic content in the texts and tasks they created, although the development of cultural competence is not their main goal. In the conclusion, attention was paid to building learners’ awareness of the existence of such elements of language, the explanation and correct use of which is related to the knowledge of the cultural context.
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The paper presents the results of a new study on the syntactic structures of simple two-component sentences in the works of Yordan Yovkov, Emilian Stanev and Yordan Radichkov. Statistical prognostic methods support the syntactic analysis and enrich it with quantitative data on the makeup of the simple sentence. The observed quantitative characteristics are the scope and depth of the sentence structure, as well as the forms of connection – subordination or coordination. Statistical and syntactic inferences are made that support the study of authors’ individual grammar in an innovative way.
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This article presents results from partial research which in its broader scope focuses on objective language needs analysis of students in Ph.D. study programmes of photography and product/industrial design. It is the problematics of formulaic language use in vocational published articles which usually serve in classes of English for Academic Purposes as referential models for the students in the target group and form a referential corpus in the objective needs analysis in the field of academic writing in English. This comparative corpus study pointed to the use of formal and functional types of 4-gram lexical bundles in published articles of expert authors in the two visual art disciplines of photography and product/industrial design. The analysis of lexical bundles has been done with the use of Biber’s (Biber et al., 1999) formal taxonomy, the functional taxonomy was adapted from Hyland (2008a, 2008b). The findings obtained will be used to identify the objective needs in communicative competence in academic writing for Ph.D. students of the target group.
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My contribution, rooted in functional and systemic grammar, is based on the assumption that though discourse as a social behaviour and verbal interaction has been studied by great minds for decades, the dynamism of human evolution and the consequent changes in communicative strategies can hardly leave discourse analysts immune to a whole spectrum of new challenges. These are evoked by changes in the scope of items considered to be relevant for present-day research, by blurring the traditional borderlines between categories (written manifestation of spoken discourse in chatting), but before all by the existence of language corpora offering the immensity of data across genres, language varieties and language interfaces. A brief introduction (Part 1) will be followed by three main parts, focusing on reasons for multifacetedness in discourse (Part 2), whimsical nature of discourse (Part 3), and handson experience with overt language manifestations of vagueness, as exemplified by English placeholders (Mrs Thingy, John Whatsisname, whatchamacallit, so-and-so) emergent from the BNC and COCA corpora (Part 4). The aim is twofold: to map the facets which contribute to patterning and variation in discourse shaping, and by using authentic language data amplify the role of peripheral language devices in interaction.
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The present study explores central modals CAN, COULD, MAY, MIGHT, and the semi-auxiliary verb BE ABLE TO in tourism discourse with a focus on register variation. A small-scale analysis conducted on the tailor-made corpus (c. 131,000 words) of three text types/registers (promotional texts, e-newsletters, and managerial responses to guests’ reviews) revealed an important variation across registers in the distribution of possibility modals, the degree to which their polysemantic nature is displayed and in their capacity to serve specific metadiscoursal functions. The findings clearly indicate that the causes of the observed variation lie in the influence stemming from the differing situational characteristics, especially communicative purposes, interactiveness, topic domains, and personal involvement.
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The article is dedicated to three textbooks in stylistics, published at the turn of the twentieth century, which marks the beginning of modern Bulgarian stylistics. The book of R. Puhlev contains a short theoretical part. The books of B. Angelov and V. Yordanov are impressively modern with regard to the included problems, as well as the used terms and their definitions. The two texts are juxtaposed and some of the theoretical accomplishments of the authors are highlighted. Both books have been written for didactic purposes, yet they are fundamental for the development of stylistics in Bulgaria.
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