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K vyšebrodskému rukopisu Zlaté legendy

100%
Bok V.
Studie o rukopisech (Manuscript Studies)
|
2014
|
vol. 44
389-394
EN
This article focuses on a manuscript of the collection of legends called Legenda aurea coming from the monastery in Vyšší Brod. The manuscript dating from the second half of the 14th century was not fi nished; the record was interrupted in the middle of the legend of St. Vitus. As the contents of the codex is written at the beginning of the codex, the scribe intended evidently to copy the so-called normal corpus of the Legenda aurea, without other legends.
2

Czym jest humanistyka cyfrowa? Pole semantyczne pojęcia (zarys)

63%
Przastek-Samokowa M.
Zagadnienia Informacji Naukowej - Studia Informacyjne
|
2016
|
vol. 54
|
issue 2(108)
82-93
PL
CEL/TEZA: Celem artykułu jest próba przedstawienia polskiego rozumienia pojęcia ‘humanistyka cyfrowa’ i stworzenie jego pola semantycznego. KONCEPCJA/METODY BADAŃ: Stosując podejście językoznawcze, przeprowadzono językową i merytoryczną analizę wybranego materiału – niejednorodnego gatunkowo – zawierającego definicje i charakterystyki humanistyki cyfrowej. WYNIKI I WNIOSKI: W wyniku analizy z tekstów wyabstrahowano znaczące swobodne słowa kluczowe (najistotniejsze elementy opisów/definicji HC) wraz z kontekstami ich użycia. Pozwoliło to na wyodrębnienie kategorii znaczeniowych (składników semantycznych nadrzędnego wyrażenia humanistyka cyfrowa). Zaproponowano dziewięć wyraźnych kategorii znaczeniowych pola semantycznego pojęcia ‘humanistyka cyfrowa’: 1) orientacja badawcza; 2) dziedzina/dyscyplina badawcza; 3) narzędzia; 4) projekty; 5) placówki i konsorcja; 6) formy komunikacji; 7) humanista cyfrowy; 8) kompetencje i umiejętności; 9) kierunek studiów. ORYGINALNOŚĆ/WARTOŚĆ POZNAWCZA: Artykuł – w podziale na aspekty, stające się kategoriami znaczeniowymi – ukazuje sposoby przedstawiania złożonego pojęcia ‘humanistyka cyfrowa’ oraz konstrukcję jego pola semantycznego. Uzyskane wyniki mogą stanowić punkt odniesienia dla dalszych badań dot. interpretacji pojęcia ‘humanistyka cyfrowa’ oraz dot. rozwoju samej humanistyki cyfrowej.
EN
PURPOSE/THESIS: The aim of this paper is to present Polish interpretations of the concept of ‘digital humanities’ and its semantic field. APPROACH/METHODS: The linguistic and content analysis of selected heterogeneous material, including both definitions and characteristics of digital humanities. RESULTS AND CONCLUSIONS: The analysis of the resources resulted in the extraction of significant keywords (the most important elements of descriptions/definitions), together with their contexts. That enabled the author to distinguish semantic categories (semantic elements of the mother phrase ‘digital humanities’). Nine discrete semantic categories of the semantic field of the concept of 'digital humanities' have been identified: 1) research orientation; 2) research domain/discipline; 3) tools; 4) projects; 5) units and consortia; 6) communication forms; 7) digital humanist; 8) competences and skills; 9) degree course. ORIGINALITY/VALUE: The paper, arranged according to the aspects finally turned into semantic categories, discusses presentation modes of the complex concept of ‘digital humanities’ and the structure of its semantic field. The results can be useful for further research concerning both the interpretation of the concept itself and the development of digital humanities.
3

Strategie deskrypcyjne w Jana z Szamotuł Kazaniach o Maryi Pannie Czystej

63%
Matusiak-Kempa I., Przybyszewski S.
Prace Językoznawcze
|
2014
|
issue 16/4
81-88
EN
The article presents strategies in describing Our Lady in the 16th century text of sermon attributed to Jan of Szamotuły, commonly called Paterek. The description of Mother of God reveals the medieval views on aesthetic issues and shows the common way of thinking about the canons of beauty. The description is performed on the basis of both the theological truths and existing stereotypes. The rhetorical strength of the sermon is enhanced by appealing to religious authorities and to the Bible.
4
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Opis trasy turystycznej Kopalni Soli Wieliczka w świetle opracowania Jana Nepomucena oraz ludwika Emanuela Hrdinów z 1842 roku

51%
Konwerska B.
Studia i Materiały do Dziejów Żup Solnych w Polsce
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2017
|
vol. 32
10-68
XX
Geschichte der Wieliczkaer Saline is a unique source for every researcher who is learning about the history, geology and mining technique of the Wieliczka salt mine. The authors, professionally connected and obviously fascinated by the Wieliczka mine, created its full picture, taking into consideration all the aspects of everyday life of a salt business. The versatility of the 1842 publication is strongly evidenced by the last part of the monograph − Beschreibung der Werkwürdigkeiten des Wieliczkaer Steinsaltzwerkes als Leitfaden bei der gewühnlichen Gasttour− prepared by Ludwig Emanuel as an appendix presenting the tourist route of that time. The entire work of the Hrdina brothers, which consists of texts, lithographs and maps, brings us closer to the multilayered picture of the history of the Wieliczka salt mine until the first half of the 19th century. The text of this appendix, its lithographs and maps form a  specific guide which contains not only a description of the then route, but, above all, guidelines for “strangers” planning to visit the Wieliczka salt mine. This collection could function, independently from the 1842 study, as an individual book dedicated to masses of tourists coming to Wieliczka. This illustrated material allowed visitors not only to consolidate and organise their memories, but it also enabled all those who had never reached the Wieliczka mine to familiarise themselves with the underground picturesque world, with its peculiarity and mysteries. It is therefore not surprising that until 1892, when Awit Szubert took the first black and white photographs of the Wieliczka mine interiors, the drawings prepared by the Hrdina brothers and their detailed description of the tourist route were the most frequently used information and illustrative materials for numerous national and foreign publications about Wieliczka. Before 1892, the management board would answer each query concerning the mine’s interior images with recommendations to use the lithographs by Ludwig Emanuel Hrdina and John of Nepomuk. The authors of the 1842 monograph not only managed to capture the exceptional picture of the Wieliczka salt mine, but they also succeeded in recording a rare phenomenon of the 19th century − an underground tourism. What is more, the uniqueness of the Wieliczka salt mine lies in the fact that it is one of the oldest tourist attractions in Poland, as well as one of the first fully organised tourist destinations. It is important to remember that in the 19th century partitioned Poland, over 100 museums were established. Most of them were founded in the second half of the 19th century, when the Wieliczka mine had already introduced a well-organised and well-functioning system of first fees for visitors. In January 1868 the salt mine authorities announced the first tariff in the history of Wieliczka tourism. They used attractions originally prepared for special, crowned guests. Purchased tickets involved lighting of the underground route and aforementioned additional attractions. It is worth adding that in the second half of the 19th century Austrian salt mine administration established, apart from the underground tourist route, Museum of the Mining School − an educational centre with scientific support and a  small exposition of souvenirs in the building of the Rudolf’s shaft top, commemorating personalities visiting the mine. At the very end of the 19th century these meticulously gathered elements were located in the Salt Mine Museum in the so-called Sztygarówka building. Finally, it should be noted that the tourist route, once accepted by the Austrian authorities, to a certain extent has been operating to this day. Naturally, over these 200 years its reach and character have changed significantly. Today’s underground route includes more than 40 chambers. This is twice the number of the route from the first half of the 19th century. Another important aspect is that over the past few years decorations of individual mine workings have changed. This can be most easily seen in the Drozdowice Chamber, where a wooden pillar and cribs were built during the years 1900- 1901. It is worth noting that the then route did not include the most famous underground chapel in the world, the Chapel of St. Kinga. Its first foundations were laid around 1895. Nonetheless, the modern tourist route occupies the same area as the one from the first half of the 19th century, i.e. the mine workings concentrated around the Daniłowicz Shaft. As a result, part of those intended for visitors in the first half of the 19th century is also available for tourists coming to Wieliczka today. These include the Daniłowicz Shaft, the Antonia Shaft, chambers of Urszula, Michałowice, Drozdowice, Józef Piłsudski (formerly the Rosetti/Majer chambers), Pieskowa Skała, Sielec, Spalona and St Anthony’s Chapel. Certainly, their interiors are quite different today. What is important, however, both today and in the Austrian times tourists visited the same part of the mine, which by its hosts was considered the most elegant and representative of the history of the Wieliczka salt mine. For nearly 250 years, since the Austrians introduced the first tourist route, significant and irreversible changes in the mine’s layout and design have taken place. All the descriptions and accounts that have been preserved from the old times give us a picture of the mine workings and the scope of services provided. In this context, the 1842 publication and its illustrations should be regarded as invaluable.
5
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Układanie niebka. Rola opisu w mojej twórczości prozatorskiej

36%
Helbig-Mischewski B.
Forum Poetyki
|
2020
|
issue 20
74-85
EN
The paper is devoted to the creation and function of description in the prose by the author, as well as about the mutual relations between the categories of description and storytelling. The function and structure of description is compared to the childhood game niebko (also known as a sekret), referring to the title of one of her novels (Niebko, 2013). The author considers the (not only artistic, but also psychological) genesis of the dominance of description in her prose. She points out the methods which she used to “liven up” descriptions in her prose, so that it is not too static and “boring”. She considers descriptions as a tool to “deepen” experiencing her own existence, as well as that of the reader – and so their mystical and therapeutic aspect.
PL
Artykuł traktuje o powstawaniu i funkcji opisu we własnej twórczości prozatorskiej autorki, a także o wzajemnym stosunku kategorii opisu i opowiadania. Funkcję i strukturę opisu w swojej prozie autorka porównuje do zabawy dziecięcej w „niebko” (nazywanej także „sekretem”), nawiązując do tytułu jednej ze swoich powieści (Niebko, 2013). Rozpatruje (nie tylko artystyczną, ale i psychologiczną) genezą dominacji opisów w swojej twórczości. Wskazuje na metody, którymi „ożywia” opis w swojej prozie, aby nie był zbyt statyczny i „nudny”. Zastanawia się nad opisem jako narzędziem „pogłębienia” przeżywania egzystencji własnej i czytelnika/czytelniczki, a więc nad jego aspektem mistycznym i terapeutycznym.
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