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Sprawa honoru. Przemówienie Józefa Becka, wygłoszone 5 maja 1939 roku w Sejmie Rzeczypospolitej Polskiej, na tle zasad retoryki

100%
Rzymowska L.
Oblicza Komunikacji
|
2017
|
vol. 10
23-56
EN
The paper presents the analysis of Józef Beck’s parliamentary speech on 5 May 1939, showing its characteristics as well as its unique value in different facets of the speaker’s creative act. Accordingly, the paper has been divided into seven sections. The first one provides a historical outline and an attempt to reconstruct the background of the keynote address by the minister of foreign affairs. The second one characterises Beck as a diplomat, allowing to understand the person who adopted a role of public speaker in Poland under an imminent threat of war with the German Reich. The third one introduces some details on how the chief of diplomacy prepared himself for delivering a definite statement of his policy. The fourth, fifth and sixth sections contain the actual analysis of the text presented to listeners, and also examine how the speaker complied with the principles of the rhetorical art on the consecutive stages (inventio, dispositio, elocutio) of creating a text as intended to be delivered. Finally, the seventh section of this study briefly summarizes how the stages of memoria and actio, i. e. memorising and giving the speech, were conducted, according to the audiovisual record of Beck’s address delivered in the Polish Sejm.
2

Nieznane pismo i nieznany język. Metodyka odcyfrowania pisma linearnego B przez Michaela Ventrisa

100%
Rzymowska L.
Kształcenie Językowe
|
2012
|
vol. 10(20)
129-147
EN
Studies into the script and language of the Mycenaean inscriptions were began in the early 20th century by Sir Arthur Evans, whose attitude as a scholar was authoritarian. Others who tried to read the inscriptions on the tablets after him included Frank Gordon Gordon, Alice E. Kober, Bedřich Hrozný, Ernst Sittig, Konstantin D. Ktistopoulos and Vladimir I. Georgiev. Among them only Kober managed to find a way to work effectively on the Linear B script. She was followed by the architect and pilot Michael Ventris (b. 1922 in Wheathampstead, d. 1956 near Hatfield), who used his many talents (including outstanding linguistic abilities) and skills acquired at a secret codes centre during the war to decipher the script. Ventris chose democratic methods of scholarly communication with other researchers and visual remembering of characters and texts on the tablets. In his innovative work he used eight methods (alternating some of them at various stages): 1) content deduction, 2) combinatorial method, 3) statistical method, 4) cryptographic method, 5) comparative method, 6) character substitution method, 7) linguistic method and 8) lexicographic method. In 1953 Ventris deciphered Linear B in collaboration with John Chadwick, after discovering that the Mycenaean language was an archaic Greek dialect.
3

Studium retoryczne dwóch stylów przywództwa w "Dyrygencie" Andrzeja Wajdy

100%
Rzymowska L.
Oblicza Komunikacji
|
2013
|
vol. 6
79 - 101
EN
The author presents a rhetorical analysis of selected scenes from the film Dyrygent (Conductor, 1979), in which Andrzej Wajda painted contrasting portraits of two conductors: Adam Pietrzyk and John Lasocki, showing them in a dialogue with the orchestra and in two different styles of verbal and non-verbal communication. In Wajda’s work the orchestra is a metaphor for society, the nation; the conductor is a type of leader, while conducting is a metaphor for exercising power, exerting influence, gaining obedience and enforcing actions. Like conductors, different leaders have different styles of leading. Having studied the actio of the two conductors, the author has defined their leadership styles as authoritarian and democratic, respectively. In addition, Adam Pietrzyk is described as a formal (institutional) leader, officially designated acting director of the orchestra; John Lasocki is shown as an informal (natural) leader, exerting influence on the ensemble thanks to qualities that are important for the achievement of a common goal. While Adam is a mediocre leader, the Master is a leader who is charismatic, who attracts attention with his style of speech, movement, appearance and his entire personality; he is characterised by high social intelligence and he knows how to treat people on an individual basis, accurately reading people’s reactions. The analysis enables us to recognise the message of Wajda’s Conductor: society may create or do a work together, if the leader acknowledges and respects the community as a collection of different people, whose rights are based on equality, yet do not arise from the equality, but rather from the uniqueness and — in the personalist sense — incommunicability of every participant. Every person in the orchestra — or: in society, nation, in a given time in history — brings to the overall consonance his or her own tone and own interpretation of sound.
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