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1
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Tożsamość narracyjna: The Canon as Identity Narrative

100%
Zielka S.
Miscellanea Anthropologica et Sociologica
|
2016
|
vol. 17(2)
135-147
PL
The main focus of this paper is to address problematic issues inherent in the canon, whichcan be understood as a construct that enables the production of the common universe ofimages and symbols, which support the collective memory, that is an indispensable elementof the collective identity of social groups, including nations. In such understandingof the canon, it is a cultural construct which itself also constructs culture. This dual natureof the canon becomes particularly obvious in the case of national educational canonsconnected to complex collective subjects. Participation in the canon as a cultural text ispartially indicative of belonging to a certain group, and thus guaranteeing one’s individualidentity. Education, however, is the field of constant debate, a polemical discourse andother forms of cultural dispute which may come under the header of ideological wars. Theinextricable connection between ideology and education can be expressed in the formof a dilemma: what kind of person do we wish to raise, and how do we identify what itmeans to be a citizen, and does he/she have exhibit patriotism as a result? In this context,the question about the educational canon emerging from these debates is also a questionabout the image of culture and its dominant narrations defining ways of constructing andfulfilment of identity.
2
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Narrative identity: The Canon as Identity Narrative

100%
Zielka S.
Miscellanea Anthropologica et Sociologica
|
2016
|
vol. 17(2)
135-147
EN
The main focus of this paper is to address problematic issues inherent in the canon, whichcan be understood as a construct that enables the production of the common universe ofimages and symbols, which support the collective memory, that is an indispensable elementof the collective identity of social groups, including nations. In such understandingof the canon, it is a cultural construct which itself also constructs culture. This dual natureof the canon becomes particularly obvious in the case of national educational canonsconnected to complex collective subjects. Participation in the canon as a cultural text ispartially indicative of belonging to a certain group, and thus guaranteeing one’s individualidentity. Education, however, is the field of constant debate, a polemical discourse andother forms of cultural dispute which may come under the header of ideological wars. Theinextricable connection between ideology and education can be expressed in the formof a dilemma: what kind of person do we wish to raise, and how do we identify what itmeans to be a citizen, and does he/she have exhibit patriotism as a result? In this context,the question about the educational canon emerging from these debates is also a questionabout the image of culture and its dominant narrations defining ways of constructing andfulfilment of identity.
3
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Pięcioksiąg w Biblii. Analiza struktury retorycznej kanonu

100%
Stanek T.
Poznańskie Studia Teologiczne
|
2011
|
issue 25
37-55
EN
Biblical canons reflect the theology of communities that are responsible for their final shape. A majority of texts that were written during the biblical and early postbiblical period belong to a few communities and are collected in different canons. The present article considers two of them: the Hebrew Bible and the Catholic Old Testament, from the perspective of the Pentateuch, with the aim of grasping some of the doctrinal differences between early Christianity and Rabbinic Judaism. The canon of the Hebrew Bible is totally oriented towards the Pentateuch and accentuates messianic hope, but is completely closed towards any new text, contrary to the canon of the Old Testament. The Old Testament is open towards New Testament by the rearrangement of basic writings contained in the Hebrew Bible.
4
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Rewizja kanonu. O serii „Biblioteka Dawnej Literatury Popularnej i Okolicznościowej”

100%
Głażewski J.
pl.it / rassegna italiana di argomenti polacchi
|
2015
|
issue 6
199-204
5
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Recepce Jakubova listu v dějinách církve

100%
Mareček P.
Studia theologica
|
2018
|
vol. 4
1-20
EN
The Letter of James, although one of the last to be included in the canonical list, has gained an undisputed position in the Canon of the New Testament. Our study, which looks at the history of the reception of the Letter of James from the time of its first use and its acceptance into the New Testament canon to the present, is divided into three parts. The first presents the history of the early reception of the Letter of James and its inclusion in the canon of the New Testament. The second part discusses the attitudes towards and judgments on the Letter of James during the Reformation. Finally, the third part briefly describes what interest the Letter of James has enjoyed from the nineteenth century to the present and how it is viewed now. It is apparent from the history of the reception of the letter, which was generally overlooked in the history of the Church, that it has become the subject of attention of contemporary authors who seek to rehabilitate its position.
6
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Design jako próba przywrócenia kanonu? Pojęcia, metody i dyskursy a niemieckie i śląskie wzornictwo pierwszej połowy XX wieku

88%
Stanicka-Brzezicka K.
Artium Quaestiones
|
2021
|
issue 32
37-66
EN
In the article, the concept of canon is related to the process that has been defined as the transition from applied art to design. The thesis is then put forward that this processcan be seen as the canonisation of products intended for mass production. The above statement suggests that a (qualitative?) change has taken place between designing and producing artistic and also utilitarian objects and the phenomenon called design. However, an answer to this problem first requires a clarification of terms. If we understand design and production historically in the context of the transition from handicraft to machine production, i.e. within the narrative socio-economic history, and if we place design in the ontology of visual culture, its pictorial representations and materiality, we will see a shift of focus to aesthetic values, related to form and materiality, and thus canonisation – the establishment of icons (of design). The canon will in this sense be a defence against aesthetic relativism. Escaping into the canon is art history’s way of dealing with the social, economic and knowledge and technology arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures. transfer issues that are indispensable in the study of crafts, arts and craft and design. The history of art (but also popular culture!) has canonised many works and phenomena. One example is the Bauhaus, widely seen as the canon of 20th-century design, although Gropius himself defined its purpose in the words: “das ziel des bauhauses ist eben kein ‘stil’, kein system, dogma oder kanon [...]”. Similar phenomena took place concerning the design of the first half of the 20th century from the Lower Silesia area: the slogan “Breslauer Moderne” referred, in part, to the Werkbund exhibition in 1929 (WuWA), and the activity of the Wrocław Academy in the field of applied arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures.
7
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NETWORK SOCIETY: The ambiguity of the word “canon”: The casus of the Mirriel Literary Forum.

75%
Kulesza-Gulczyńska B.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(2)
112-126
8
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SPOŁECZEŃSTWO SIECIOWE: O dwuznaczności słowa canon. Casus Forum Literackiego Mirriel.

75%
Kulesza-Gulczyńska B.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(2)
112-126
PL
Wielu konserwatywnych literaturoznawców uważa, że nieograniczone możliwości publikacjitekstów literackich w internecie to wyraźna zapowiedź końca tradycyjnej literatury.Rzeczywiście, obecna kultura sieciowa pozwala twórcom na publikację tekstów literackich,które z wielu powodów prawdopodobnie nie mogłyby ukazać się drukiem. Jeślijednak dany twórca chce stać się członkiem internetowej społeczności autorów, zyskującw ten sposób konkretne grono odbiorców, musi podporządkować się wielu ograniczeniomi spełnić szereg warunków, nie zawsze pokrywających się z wymaganiami, jakiestawia się tradycyjnemu pisarstwu. Internetowe społeczności twórcze wytworzyły własnemechanizmy kontrolujące i dyscyplinujące, pozwalające na weryfikację, ocenę i eliminacjętekstów nieodpowiadających ustalonym standardom.Na podstawie kilkuletniej obserwacji Forum Literackiego Mirriel, zrzeszającegoprzede wszystkim twórców fan fiction (publikowane są tam również utwory oryginalne),wskazać można różnorodne mechanizmy służące ustalaniu hierarchii (rola i pozycjaadministratorów i moderatorów, regulamin), zasady przyjmowania nowych członków,sposoby tworzenia kolektywnej interpretacji tekstów kanonicznych (groupmind) oraz weryfikacjitekstów przeznaczonych do publikacji (beta-readerzy, reguły selekcji materiału,kary i sankcje). Stanowiąc grupę, która pierwotnie odegrała istotną rolę w dekonstrukcjitradycyjnych literaturoznawczych pojęć, twórcy fan fiction mogą być postrzegani jakobuntownicy i rewolucjoniści. Z drugiej strony – mimo ogromnej swobody, jaką daje internet– ich eksperymenty są w znacznym stopniu ograniczane, nie tylko konwencjonalnymiwymaganiami i zasadami pisarstwa jako takiego, ale również przez canon i fanon, które,stworzone przez członków danej społeczności w wyniku dyskusji i kolektywnej interpretacji,stanowią istotną instancję pozwalającą ocenić „odpowiedniość” tekstu fanowskiegodo tekstu bazowego.
9
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SEM analysis of black toners on printouts. Part I

71%
Łasińska A.
Przegląd Bezpieczeństwa Wewnętrznego
|
2019
|
vol. 11
|
issue 21
363-392
EN
This paper describes the use of scanning electron microscopy in the analysis of original black toners commercialized in Poland. A total of eighteen printouts of Canon, Dell, Epson and Ricoh manufacturer was analyzed. The analysis showed that the implementation of a much more sensitive method, such as the scanning electron microscopy (SEM) provided new opportunities for the identification of laser printing. The microscopic images obtained allowed us to allocate the characteristic features of toners to specific groups of devices.
PL
W publikacji przedstawiono wyniki analizy struktury powierzchni czarnych tonerów na wydrukach, dokonanej za pomocą skaningowego mikroskopu elektronowego. Przeprowadzono testy tonerów z kilku wydruków pochodzących z 18-laserowych urządzeń drukujących czterech firm: Canon, Dell, Epson i Ricoh. Wdrożenie skaningowej mikroskopii elektronowej do kryminalistycznych badań dokumentów stworzyło nowe możliwości identyfikacji laserowych urządzeń drukujących. Uzyskane obrazy mikroskopowe pozwoliły na przyporządkowanie charakterystycznych cech tonerów do poszczególnych grup urządzeń.
10
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Analiza SEM czarnego tonera na wydrukach. Część I

71%
Łasińska A.
Przegląd Bezpieczeństwa Wewnętrznego
|
2019
|
vol. 11
|
issue 21
211-246
PL
W publikacji przedstawiono wyniki analizy struktury powierzchni czarnych tonerów na wydrukach, dokonanej za pomocą skaningowego mikroskopu elektronowego. Przeprowadzono testy tonerów z kilku wydruków pochodzących z 18-laserowych urządzeń drukujących czterech firm: Canon, Dell, Epson i Ricoh. Wdrożenie skaningowej mikroskopii elektronowej do kryminalistycznych badań dokumentów stworzyło nowe możliwości identyfikacji laserowych urządzeń drukujących. Uzyskane obrazy mikroskopowe pozwoliły na przyporządkowanie charakterystycznych cech tonerów do poszczególnych grup urządzeń.
EN
black toners commercialized in Poland. A total of eighteen printouts of Canon, Dell, Epson and Ricoh manufacturer was analyzed. The analysis showed that the implementation of a much more sensitive method, such as the scanning electron microscopy (SEM) provided new opportunities for the identification of laser printing. The microscopic images obtained allowed us to allocate the characteristic features of toners to specific groups of devices.
11
Content available remote

Aldo Clementi musicus mathematicus

63%
Carapezza P. E.
Interdisciplinary Studies in Musicology
|
2013
|
issue 12
57-72
PL
Like that of Liszt and Stravinsky, the composers by whom he was attracted in his adolescence and early youth, Aldo dementi’s (Catania 1925-Rome 2011) musical production went through various phases, greatly changing on the surface and in appearance, though not in depth and substance. He himself suggests a division into five phases: 1. Preliminary (1944-1955), juvenile and apprenticeship works. 2. Structural (1956-1961). 3. Informal material (1961-1964). 4. Non-formal optical (1966-1970). 5. Polydiatonic (1970-2011): groups of letters indicating musical notes (for example: B-A-C H), or canti dati (modal or tonal - monodic or polyphonic - compositions of the western tradition, from the Stele of Sicilus to Stravinsky), but most often segments of melodic lines inferred from them. But - in the polyphonic counterpoint that derives from it - they are simultaneously intoned in the different voices in different tonalities: hence their superimposition restores the chromatic dodecaphonic total. Clementi himself proclaims the constitutional continuity of this development. The substance of his music consists in the direct transposition of a figurative project into a sonorous structure. Geometrie di musica: the title of the 2001 book by Gianluigi Mattietti refers first of all, as the subtitle says, to The diatonic period of Aldo Clementi, but it perfectly defines his whole musical production, all pervaded by dense polyphonic counterpoints. For Clementi construction is a goal, not a means to articulate discourse: indeed, he was even to do without discourse in his three central creative periods; and when in the fifth and latest one he has returned to it, he has enslaved it entirely to construction : he draws fragments from it, to be used as raw material, i.e. the diatonic subjects, of his dodecaphonic counterpoints. After the different phenomenology of the eruptions of sound matter of Varèse and Stravinsky, dementi’s music represents a further peak of pure construction in the sonorous space. His counterpoint however, like Webern’s, is limpid, subtly articulated, and dominated by reason: but here construction reigns supreme, and the composer in accordance with his requirements uses discursive melodic segments as raw material, as bricks (“modules” he says, and he describes them as mosaic tiles). “The idea of a construction achieved with the dovetailing of mirror-like images is also at the base of the figurative research of Escher, hinging on the concept of division of the plane, through repeated figures, mirror-like and congruent” (Mattietti). Indeed, dementi’s music is “disciplina quae de numeris loquitur” (discipline that speaks of numbers), according to the definition by Cassiodorus, rather than “scientia bene modulandi” (art of singing well), according to the definition by Augustine; and it is, more precisely, paraphrasing the famous definition by Leibniz, “exercitium arithmeticae manifestum coscientis se numerare animi” (evident arithmetical exercise of the mind aware of counting). Three compositions of dementi’s polydiatonic period are here thoroughly considered: two canons for string quartet, the very simple four-voiced Canone on a fragment by Platti (1997) and the very complex eight-voiced Tributo (1988) on “Happy birthday to you!”; and a de-collage, Blues and Blues 2, “fantasies on fragments by Thelonious Monk”, for piano (2001).
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