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Dialog między Afryką a Europą. Léopold Sédar Senghor - duchowy przywódca, polityk, poeta, filozof

100%
Ndiaye I. A.
Forum Politologiczne
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2008
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vol. 7 - Przywódcy i przywództwo we współczesnej Afryce
EN
Léopold Sédar Senghor (1906-2001), eminent columnist, excellent speaker, literary critic, philosopher, culture specialist and linguist, one of the ablest African poets of the 20th century, he was one of the first to start the dialogue between Africa and Europe in the 30's. His poetry and journalism broadened a cultural sphere, and his socio-political activity laid foundations of reaching an agreement between different continents. The great African patriot, he was and will remain a man of an open world, the boundless world.
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„Ziemski homunculus”. Z historii radzieckich eksperymentów w Nowej Gwinei i Suchumi

100%
Ndiaye I. A.
Echa Przeszłości
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2012
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vol. 13
261-283
EN
An experiment aiming to create an invincible human-ape hybrid seemed to be a worthy project that would crown the scientific achievements of Professor Ilya Ivanov. The experiment was to be conducted on a live human being, and it raised moral and ethical concerns. An answer the question whether the Soviet scientist’s efforts to create a human-ape hybrid at the beginning of the 20th century were merely a historical curiosity or were decades ahead of other scientific achievements would be largely based on our attitude towards the moral and ethical implications of the experiment. The authors of publications discussing Ivanov’s project take radically different positions. Whereas some regard Ivanov as an outstanding scientist whose work should not be subject to moral assessment, others accentuate the amoral nature of his experiments and consider him to be a charlatan whose projects fall outside the realm of science. Should Ivanov be accused of moral and ethical depravity? Before passing the final judgment, we should take a closer look at the moral compass of the 20th century. Ivanov’s work fits into a broader context of biological discoveries and bold medical experiments which were carried out throughout the world in the 1920s and 1930s. Ironically, the scientist who devoted his life to pursuit of Stalin’s absurd ideas became a victim of the Soviet regime. Ivanov paid a high price for his inability to deliver satisfactory research results, which ultimately led to his arrest and exile.
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Poesia visiva. Z najnowszych zjawisk kulturowych w Rosji

100%
Ndiaye I. A.
Slavia Occidentalis
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2011
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issue 68
237-244
PL
Visual poetical text came into existence as a connection of two types of activity - the poetical (verbal) one and the visual (graphic) one. It composes a varied phenomenon which unites poetry, painting, graphic arts, finearts and photography. That dependence on one another was understood differently by particular artists in distinct periods of history. Russian literature also has its rich history of visual poetry. The first attempts, which werestarted by Symeon Potocki in the 17th century, were continued by Gavrila Derzhavin, Aleksey Apukhtin, Erl Martov as well as others. This new and productive period of visual poetry was connected with the vanguardmovement from the beginning of the 20th century, which spread across Europe. The biggest contribution into the development of this literary genre in Russia, not only in a practical manner but also in a theoretic one, broughtin the Futurists and Constructivists, for whom the form became an essence, and a word became an image. The modern Russian visual poetry integrates the ideas of figurative poetry, concrete poetry and poesia visiva,and provides the examples of works which combine art and literature in a complex manner both artistically and compositionally. It is only because of the author’s intention (such as a definition in the title or a placementamong other poems etc.) that they are considered as poetry. Therefore, visual poems become a special challenge for the traditional and cliché manner of interpreting art. The perception of visual texts requires readers toparticipate actively in discovering new and unexpected interpretations of the works. This idea goes beyond the limits of a classical poetic text.The variety of visual poetry broadens our perception, our consciousness, and our existence in a specific reality. And what is important, this process takes place on the language level, which is a basic and direct aspect of interpersonal communication.
4
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Kobieta w islamie. Na przykładzie Senegalu jako nowoczesnego kraju muzułmańskiego

100%
Ndiaye I. A.
Forum Politologiczne
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2006
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vol. 4 - Islam we współczesnej Afryce
303-322
EN
In Senegal, where 94 per cent of the society are Muslims, the position of women differs from the most Islamic countries. The causes of this characteristic phenomenon are on the history, the religion, the philosophy and the pragmatism of Senegal. The fact that this country was for a very long time under different cultural and religious influences makes its people open-minded. Women participate in every field of activities. The main decisions in order to improve the situation of women, the equality of rights in the society, were taken since the Senegal's independence in 1960. That's why a Muslim woman in Senegal is able to carry out an active professional and social life, with keeping on her religious identity. There for the Senegalese society shows that Islam and modernity can exist in harmony. The Senegalese case shows also that Islam in Africa does not destroy native African culture.
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Archaizmy w idiolekcie poetyckim Nadieżdy Teffi

100%
Ndiaye I. A.
Heteroglossia- studia kulturoznawczo-filologiczne
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2022
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issue 13
51-71
EN
This subject of the research is the problem of linguistic image of the world in Nadezhda Teffi’s poetry. The analysis was focused on the idiolect of the poetess – a Russian émigré from the “first wave”. This article is devoted to lexical and grammatical archaisms appearing in her works that appeared in three poetry collections: Семь огней (1910), Passiflora (1923), Шамрам. Песни Востока (1923). The volumes, containing both early works from the pre-revolutionary evolution of poetess’s language and the entire process of the evolution of her poetic idiolect.
6
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Konceptualizacja śmiechu w językowym obrazie świata Nadieżdy Teffi (na materiale prozy wspomnieniowej)

100%
Ndiaye I. A.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 7
221-243
EN
The focus of this research is the concept of Laughter in Russian émigré literature. The particular aim of this article is to analyse this concept in the memoirs of Nadezhda Teffi, one of the writers from the first wave of Russian emigration. The subject of this analysis is the lexis taken from the volumes Memoirs (1933) and My Chronicle (2015). The analysis focuses on distinguishing the semantic structure of the concept of Laughter, and the ways of its linguistic expression in the literary text. During the process of analysis, we refer to the methodology proposed by Josif Sternin which made it possible to distinguish, in the structure of concepts, various mental units of the author’s image of the world as verbalised in literary texts (objective and individual-author meanings and images). Moreover, this study uses a descriptive method and a functional and stylistic analysis. Based on the linguistic analysis carried out, we conclude that the concept of Laughter is widely represented in Teffi’s memoirs. The individual-author’s meanings representing the periphery of the concept analysed have a different connotation. The feelings and emotions expressed through laughter in the depicted world are positive, negative and neutral. The frequency of use of the lexical units, and the variety of their updating, prove that the concept of Laughter has an important place in Teffi’s linguistic worldview.
PL
W centrum uwagi badawczej Autorki pozostaje koncept смех w rosyjskiej literaturze emigracyjnej. Celem artykułu jest analiza danego konceptu w prozie wspomnieniowej Nadieżdy Teffi, pisarki pierwszej fali emigracji rosyjskiej. Przedmiot niniejszej analizy stanowi leksyka wyekscerpowana z tomów Wspomnienia (1933) oraz Moja kronika (2015). Analiza została ukierunkowana na wyodrębnienie semantycznej struktury konceptu oraz sposobów jego lingwistycznego wyrażenia w tekście literackim. W procesie analizy odwołaliśmy się do metodologii zaproponowanej przez Josifa Sternina, co pozwoliło wyróżnić w strukturze konceptów różnorodne jednostki mentalne autorskiego obrazu świata, werbalizowane w tekstach literackich (sensy i wyobrażenia obiektywne oraz indywidualno-autorskie). Ponadto w badaniu wykorzystano metodę opisową oraz analizę funkcjonalno-stylistyczną. Na podstawie przeprowadzonej analizy lingwistycznej możemy wnioskować, że koncept смех jest szeroko reprezentowany w prozie wspomnieniowej Teffi. Indywidualno-autorskie znaczenia reprezentujące peryferie analizowanego konceptu mają różną konotację. Uczucia i emocje wyrażane za pomocą śmiechu w świecie przedstawionym są zarówno pozytywne, negatywne, jak i neutralne. Częstotliwości użycia jednostek leksykalnych oraz różnorodność ich aktualizacji świadczą o tym, że koncept СМЕХ zajmuje ważne miejsce w językowym obrazie świata Teffi.
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Senegalski pisarz Mohamed Mbougar Sarr. Laureat nagrody literackiej Goncourtów 2021 w dyskursie Medialnym

63%
Ndiaye B., Ndiaye I. A.
Acta Neophilologica
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2022
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vol. 2
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issue XXIV
195-214
PL
The main goal of the undertaken research was to present how texts devoted to literary events function in contemporary media discourse. The article analyzes the reaction of the French-speaking media to the literary event of the Francophone world – presenting a Senegalese writer with the most prestigious literary award in France. The authors review the major media publishing in French in which the figure of the laureate Mohamed Mbougar Sarr was celebrated, the content of the awarded novel as well as the opinions of critics and journalists. The online versions of, among others, Le Monde, Le Courrier International, Le Soleil, LaPresse.ca, Le Soir, L’Observateur Paalga and audiovisual media such as RFI, TV5 Monde, France 24, TSR were analyzed. The choice of the aforementioned media was motivated by the desire to investigate the issue in journalistic texts, diverse in terms of themes, content, and style. The authors also try to explain the phenomenon of hatred towards the laureate expressed by some Senegalese Facebook and Twitter users.
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