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(Nie)stosownie (nie)dosłowni rodzice. Czarny humor a konwencja mówienia o dziecku: intencje a odbiór

100%
Legomska J.
Conversatoria Linguistica
|
2014
|
issue 8
63-77
PL
The Author of the essay asks the following question: do parents have licentia rhetorica for talking about their experience? In her analysis she primarily focuses on an Internet magazine „Bachor. Bezradnik dla nieudacznych rodziców („Brat. Helpless-guide for looser–parents”) which represents a very particular way of talking about the child, a way which varies from parents’ standard linguistic behaviour. The Author traces the fragments which include intentionally created non–literality and subsequently proceeds to reconstruct the types of reception she observed. At the same time, the Author ponders on the reasons why some recipients resist the possibility of nonliteral reading or why they object to it – and, as a result, read messages literally. The considerations are presented in a broader perspective of the reflection upon the media motivated social and cultural transformations of rhetorical standards of talking about the child.
2

How sharp can Sharpe be? Wit and crudity in the novels of Tom Sharpe

88%
Głowala Z.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2012
|
issue 9
107-117
EN
The campus novel, invariably a satire on the university community, typically touches on the subjects of sex, money, power, adultery, or professional rivalry. Tom Sharpe's novels cover similar topics. They are, however, crammed with vulgarity, chauvinism and black humour. The purpose of the article is to analyse Tom Sharpe’s satirical style considering the author's apparent refusal to accept the boundaries of taste and decency. The article will focus on three novels, Porterhouse Blue, Wilt and The Wilt Alternative, which ridicule academics but also contemporary society at large. Sharpe introduces a whole parade of unusual characters, arranges for them a series of preposterous situations and spices his plots with grotesque and sometimes repellent episodes.
3
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Etiudy Romana Polańskiego

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
|
vol. 9
|
issue 17-18
159-198
EN
  Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
PL
Roman Polanski’s Short Films   Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
4
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Specyfika czarnego humoru w najnowszej kinematografii czeskiej

51%
Brzezińska A.
Ogrody Nauk i Sztuk
|
2013
|
issue 3
PL
Artykuł porusza kwestię specyfi ki czarnego humoru w najnowszych fi lmach produkcji czeskiej. Pokazując funkcje i charakter czarnego humoru oraz odwołując się do teorii komizmu autorka przechodzi do opisu czeskiej kinematografi i i skupia się na fi lmach wyprodukowanych po 1989 r. W analizowanych komercyjnych komediach i czarnych komediach dostrzega aspekty czarnego humoru i odwołuje się do cech czeskiego społeczeństwa
EN
The article concerns the peculiarity of black humour in the newest Czech fi lms. Indicating the function and nature of Czech humour, the author subsequently describes Czech cinematography, focusing on fi lms made aft er 1989. In the commercial comedies and black comedies that she analyses, she points at diff erent aspects of black humour and refers to the features of Czech society.
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