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A cognitive and corpus-based study of the connotative potential of the adjectives czerwony ‘red’ and czarny ‘black’ in modern Polish political discourse

100%
Awier M.
Beiträge zur allgemeinen und vergleichenden Sprachwissenschaft
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2021
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vol. 10
7-20
EN
The paper discusses metaphorical and metonymic extensions of the adjectives czerwony ‘red’ and czarny ‘black’. The connotative potential of red and black colour collocations is analyzed and discussed. Red and black collocations were excerpted from the two largest corpora, i.e. NKJP and MoncoPL. All colour citations are analysed in the framework of discourse analysis and conceptual metaphor and metonymy. The analysis indicates that extralinguistic factors (i.e. social, political and historical events) motivate the emergence of red and black colour collocations in modern Polish discourse.
2

Norms And Environment Of Gender, Sex, And Love: Black Female Protagonists In Toni Morrison'sSula

72%
KESUR B. N., KHAIRNAR A. P.
Gender Studies
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2014
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vol. 13
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issue 1
80-92
EN
The present paper discusses the great African American woman novelist Toni Morrison and her novel Sula. This work is an expression of Morrison's concern for the degradation of women in society. It is about two female protagonists who have been born and brought up according to norms and an environment of gender, sex and love that shape their personalities. The female protagonists Sula and Nel represent two different opinions and attitudes toward gender roles, sex and love. Nel follows the conventional norms of society; while Sula throughout her life rejects the traditional notions of feminine ‘responsibility’ and refuses to see women as only wives and mothers. This paper also explains how these norms and environment of gender, sex and love destroy the relationship between not only men and women but also women themselves.
3
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New Horizons in the Study of Early African Christianity

51%
Helleman W. E.
Vox Patrum
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2022
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vol. 81
127-156
EN
Teaching early Christianity in Nigeria and elsewhere in Africa since 2002, has convinced this author how important it is for African Christians to know of the deep roots of Christianity in Africa, and recognize the important early African theologians, Tertullian, Origen, Athanasius and Augustine, just to name a few. This argument has a significant precedent among 19th century African Christians encouraged by the unbroken presence of Christianity from antiquity in Ethiopia. In the US, Thomas Oden promoted the study of pre-Islamic Christian Africa through the Centre for Early African Christianity, and publications like the series, Ancient Christian Commentary on Scripture. This Centre has also encouraged universities in Africa to get involved in deciphering archeological materials and documents from North African sites as evidence for Christianity from its earliest days; the study of such documents has recently been established at the University of Jos (Plateau State, Nigeria). These initiatives are doubly significant because Christianity is growing phenomenally throughout Africa and is often accused of being “mile wide and an inch deep”.
4

Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych

44%
Zięba H.
Prace Kulturoznawcze
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2017
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vol. 21
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issue 4
97-118
EN
In this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular motion pictures about the disease, I begin with Georges Didi-Huberman assumption, according to which, under a layer of popular images of disasters, there are always different depictions yet to be discovered. Referring to the concept of minoritarian strategies, formulated by Gilles Deleuze and Felix Guattari, I attempt to make a formal and stylistic analysis of four films, two documentaries and two features. Simultaneously I try to demonstrate that actions taken by women involved in different levels of film production cross the traditional opposition between the mainstream and independent cinemas. The films analyzed in this article are: Sandra’s Web: A Mother’s Diary (1996, dir. Beverly Peterson), Wilhemina’s War (2015, dir. June Cross), Life Support (2007, dir. Nelson George), and Precious (2009, dir. Lee Daniels).
5
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W stronę intensyfikacji doświadczenia obrazu. Analiza monochromatycznych prac Rafała Bujnowskiego z lat 2012- 2016

44%
Obiedzińska E.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 4
347-377
EN
The aim of this study is to analyse the hitherto unresearched monochrome paintings of Rafał Bujnowski from 2012-2016. Focusing on works from the series “Nokturn (Graboszyce)”, “Nokturn”, “Pejzaż w szarości” and “Maj 2066. Tonda”, I interpret them in the context of the perception of paintings, and the painter’s conscious transformation of the viewer’s way of seeing. This article presents Bujnowski’s recent works as rooted in the history of art – covering that space between the romantic nocturne tradition and the idea of the end of painting. The use of painting conventions is not based on repetition, but rather on reinterpretation: asking questions about the materiality of the work of art, its visual limits or the viewer’s relationship with the canvas. I point out different ways of intensifying the experience of paintings and the strengthening of the audience’s contact with a particular work. These aspects allow me to present the monochrome paintings as a complex space of meanings, and as a tool for investigating the present: space, speed and time.
PL
Celem artykułu jest analiza, dotychczas niebadanych, monochromatycznych obrazów Rafała Bujnowskiego z lat 2012-2016. Koncentrując się na pracach z serii „Nokturn (Graboszyce)”, „Nokturn”, „Pejzaż w szarości” oraz „Maj 2066. Tonda”, autorka interpretuje je w kontekście doświadczenia obrazu oraz transformacji sposobów widzenia odbiorcy poprzez świadome zabiegi artysty. Artykuł prezentuje najnowszą twórczość Bujnowskiego jako zakorzenioną w historii sztuki – rozpostartą pomiędzy romantyczną poetyką nokturnu a ideą końca obrazu. Korzystanie z konwencji obrazowych nie służy jednak powtórzeniu, lecz ich reinterpretacji: stawianiu pytań o materialność dzieła, granice wizualności czy relację widza wobec płótna. Artykuł wskazuje na różne sposoby intensyfikacji doświadczenia obrazu oraz wzmacniania kontaktu odbiorców z dziełem. Zagadnienia te pozwoliły ukazać monochromatyczne obrazy jako złożony obszar znaczeń jak również środek służący badaniu teraźniejszości: przestrzeni, prędkości, czasu.
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