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Charakterystyka pojęć dotyczących Afryki zawartych we współczesnych słownikach języka polskiego

100%
Kwiecińska K.
Adeptus
|
2013
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issue 1
EN
Comparison of the linguistic image of Africa in a specific Polish dictionaryThis project constitutes the main part of my doctoral thesis carried out under the supervision of Prof. Zbigniew Greń at the Institute of Slavic Studies of the Polish Academy of Sciences. In order to conduct comparative research and to analyze the differences between lexemes in Polish and Swahili, I have chosen methodology connected within a course of cognitive research, namely the linguistic image of the world. As part of the project I would like to look into and describe the linguistic image of Africa in specific Polish reportages. In addition, and in order to show the differences in the ways of conceptualisation of the reality by representatives of other cultures, I am planning to visit Tanzania to do more research. This article contains the linguistic image of Africa in a specific Polish dictionary. I have analysed the lexemes: Africa, African and Negro to show the dissimilarities.
2
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Intertextuality and African Writers

86%
Olofinsao A. M.
Crossroads. A Journal of English Studies
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2017
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vol. 19
EN
It is a general misconception in some quarters that influence of one literary work on others is a denial of the author’s claim to originality. That a writer influences another author does not mean that the newly produced work lacks originality. In fact, that act shows resourcefulness of the influenced author. This paper ascertains that intertextuality is established in the works of upcoming African writers and the mastery of its application greatly helps to boost the confidence and maturity of the writers as exemplified in Fágúnwà’s novels. The influence of some artists on the literary productions of other writers is explored. With proper acknowledgment, the terrifying ghost of plagiarism is nailed to the cross by the writer. This study concludes that no writer could actually claim that he has not been influenced by one writer or the other. Therefore, borrowing is not a literary sin but failure to acknowledge others’ influence on you is hypocritical and condemnable.
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Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012

86%
Rogers J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2019
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vol. 19
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issue 34
55-70
EN
This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.
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