The purpose of the article is to analyze selected female characters in Stanisław Vincenz’s novel Letters from Heaven. The image of women is dominated by the masculine way of judging their appearance and traits and by a patriarchal moral code. Faithful and hard-working wives and mothers are idealized in the novel. This model of femininity is stabilized not only by men, but also by older women characters. The experiences of village women were comprised in two scenes, and were expressed by the dream and silence language. Maria, the wife of a Uniate priest, was presented in the context of her fragmented memories. The room of the birth of the child is the space of women. In the space of men (the main room, where the feast is taking place) Maria was the only woman who took part in discussions, but her voice was marginalized.
Among the constitutional sources of the law of the commonly binding law, the legislature has also included acts of local law. One of them is Local Spatial Management Plan, which is the most important Act of spatial and management planning. The article, by analyzing selected legal aspects of spatial planning with their current interpretation used in administrative courts, pointed out the legal consequences of enacting Local Spatial Management Plan.
PL
Pośród konstytucyjnych źródeł prawa powszechnie obowiązującego ustawodawca umieścił również akty prawa miejscowego. Jednym z nich jest miejscowy plan zagospodarowania przestrzennego. Jest on najważniejszym aktem planowania i zagospodarowania przestrzennego. W artykule, poprzez analizę wybranych aspektów prawnych planowania przestrzennego z obowiązującą jego wykładnią stosowaną w sądach administracyjnych, wskazano na skutki prawne, jakie niesie za sobą uchwalenie miejscowego planu zagospodarowania przestrzennego.
The article attempts to reconstruct the family history of the Szumej family, characters in Stanisław Vincenz’s cycle On the High Uplands: Sagas, Song, Tales and Legends of the Carpathians. The most interesting motif of the story is the origin of the family from trees. The descriptions of trees and the consequences of the characters’ unusual origin were analysed. Several images of the Arolla pine are distinguished: the warrior, gazda (the Hutzul farmer in the Carpathians), the mother of the family, the tree of life and death. The features inherited by the descendants of trees are: perseverance, unbearableness, physical strength, and care and trust in the world. Due to the patrilineal structure of the family, women are in the background of family histories – there is no female narrator, the last woman in the family dies. On the social and symbolic level, there is no continuous generational bond between women. The article also points out that the history of the Szumej family, symbolic references to the history of salvation are included.
PL
Artykuł jest próbą rekonstrukcji historii rodowych Szumejów, bohaterów cyklu Na wysokiej połoninie Stanisława Vincenza. Najciekawszym motywem opowieści jest pochodzenie rodu od drzew. Zanalizowane zostały deskrypcje drzew oraz konsekwencje niezwykłego pochodzenia dla kreacji bohaterów. Wyróżniono obrazy kiedry: wojownik, gazda, matka rodu, drzewo żywota i umierania. Cechami odziedziczonymi przez potomków kiedry są: wytrwałość, nieugiętość oraz troskliwość i zaufanie do świata. Z uwagi na patrylinearną strukturę rodu kobiety są na drugim planie rodowych historii, brak w nich narratorki, ostatnia kobieta z rodu umiera. Na płaszczyźnie społecznej i symbolicznej nie istnieje pokoleniowa więź między kobietami. W artykule uwzględniono również zawarte w dziejach rodu symboliczne odniesienia do historii zbawienia.
The article analyses Irena Krzywicka’s coverage of the so-called Gorgonowa case, in which a Yugoslavian citizen, Rita Gorgon, was accused of killing her teenage stepdaughter. The authors notice two seemingly dissonant practices in the analysed text: Krzywicka’s involvement in the fight for women’s rights is accompanied by taking away the accused’s voice. The feminist writer treats the case as a pretext for a critique of the bourgeoisie and its institutions, which she achieves by revealing and exaggerating the theatricality coupled with sadism present in the court proceedings. The strategy of exoticisation of Rita Gorgon, which affected her perception as a stranger, is also explored. In the emotionally charged description of the trial, there is surprisingly little space for the voice of the accused herself, who is not represented by Krzywicka, but merely presented. The pursuit of rehabilitation undertaken by Rita Gorgon’s daughter and granddaughter appears to be an attempt to symbolically return the voice to the accused and to recreate the “feminine continuum”.
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