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“Red wins”, “black wins” and “blue loses” effects are in the eye of beholder, but they are culturally universal: A cross-cultural analysis of the influence of outfit colours on sports performance.

100%

Sorokowski P., Szmajke A., Hamamura T., Jiang F., Sorokowska A.

Polish Psychological Bulletin

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2014

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vol. 45

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issue 3

318-325

EN

Although many studies have demonstrated an influence of uniform colors on sports performance, there are still more questions than answers regarding this issue. In our study, participants from Poland (N = 147) and China (N = 143) watched a two-minute video of a semi-professional boxing match. The participants viewed six different versions of the same fight - the original was modified to change the colors of the boxers’ trunks (red vs. blue, blue vs. red, blue vs. black, black vs. blue, red vs. black, and black vs. red). We experimentally confirmed that “black wins” and “red wins” effects exist, but in a way that caused an erroneous perception of the number of blows landed by boxers wearing red and black trunks fighting against boxers in blue trunks. We also showed that both effects are similarly strong even in Chinese culture, where the color red has different connotations from those in Western cultures. Additionally, our results suggest that context might play a very important role in the assessments of the boxers - color only influenced the perception of the weaker boxer. Finally, our findings suggest that the topic of the influence of colors on sports competitions has not been thoroughly investigated and further studies are necessary.

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Dramatyczność kolorów historii

86%

Kosicka-Pajewska A.

Przestrzenie Teorii

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2021

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issue 36

57-71

EN

The drama of Katyń. The theory of colors, Julia Holewińska based on Józef Czapski’s Old Bielsko Memories, although largely processed. The protagonist of the play is Józef Czapski, a painter-capist, writer, intellectual, prisoner of Starobielsk, Pawliszczew Boru, Griazowiec, who builds his paintings in the performance with colors. The setting for these events is Kozielsk, where the artist was not held, which proves that this is not Czapski’s biography, nor is it a documentary account of camp life. The playwright, on the basis of a harsh and humiliating reality, showed human sensitivity. In Holewińska’s drama, Czapski acts as a guide through the camp experience through the eyes of a colorist. In each sequence, the artist expresses his view of color in art. There are two more allegorical characters in the drama: Our Lady of Kazan, who embodies three beings: Our Lady of Kazan (The Blessed Virgin of Kazan) – as the sacred, the real pilot Janina Lewandowska, and femininity in general. The second allegorical figure is the great Katyń liar, who personifies the whole apparatus of repression and oppression of the NKVD. The background for the conversations between these characters is a two-person choir – one out of a thousand and the Second of thousand. Art of Katyń. The theory of colors is devoted to painful historical events, despite the fact that it is subject to various playwriting procedures, it is moving in its meaning.

3

O opozycjach kolorystycznych w ojkonimii polski

72%

Stachowski K.

Acta onomastica

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2018

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vol. 59

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issue 1

197-214

EN

There are more than 2000 settlements in Poland with names containing a colour adjective. Etymologists sometimes point to the colour of the soil or another physical attribute but more often than not those names are left entirely unexplained. The goal of the present paper is to tentatively probe Polish oikonymy for traces of an ancient system of colour symbolism, perhaps one similar to the Chinese-Turkic system which may be responsible for the Slavic names of White Russia, and Black and Red Ruthenia.

CS

V Polsku se nachází více než 2 000 sídel, jejichž jméno obsahuje barevné adjektivum. Etymologové někdy odkazují ke zbarvení půdy nebo jiné fyzické vlastnosti, avšak velmi často tato pojmenování zůstávají nevysvětlena. Cílem tohoto příspěvku je provést předběžnou sondu, zda lze v polské oikonymii nalézt stopy po starém systému barevné symboliky, snad podobnému čínsko-turkickému systému, který by mohl stát za slovanskými jmény Bílá, Černá a Červená Rus.

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Рецепцiя Варшави князем Василем-Костянтином Острозьким у романi Шестиднев, або Корона дому Острозьких Петра Кралюка

72%

Чмир А.

Studia Wschodniosłowiańskie

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2022

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vol. 22

7-21

EN

The article analyzes the topos ofWarsaw in the historical novel Six Days, or the Crown of the Ostrozky House by modern Ukrainian writer Petro Kralyuk. The capital of Poland is depicted from the point of view of the main character of the work – Prince Vasyl-Konstantin Ostrozky. It is established that from the 16th century Warsaw was one of the key cities of the newly created state – the Polish-Lithuanian Commonwealth. Ostrozky was forced to visit it quite often. It was found that the above-mentioned city was perceived negatively for Vasyl-Konstantin. This fact is explained by the numerous personal and national losses that, in one way or another, affected Warsaw. The author’s means of tracing the image of the Polish capital (the status of the city, natural resources, colors, landscape, its connection with historical events and figures) are traced. It is emphasized that one of the sections of P. Kralyuk’s work has an eloquent title Black color. Warsaw. Due to paratextuality, the opposition of this part of the Six Days to other chapters of the novel (Color of Gray. Kyiv, Color of Yellow. Derman) is emphasized.

5

Semantičnij analiz zoonimiv, motivovnich biloju mastju ta jiji vidtinkami (Na prikladi kličok koriv v ukrajins'kij ta pol's'kij movi)

58%

Soloduško, Ol'ga

Acta onomastica

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2016

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vol. 56

193-198

EN

The article is devoted to the analysis of zoonyms motivated by the white colour of the animals. The material resources are cow names in dialects of Ukrainian and Polish languages. Based on the analysis, the author shows the common and the differences in the native speakers of two related languages perception of white colour shades.

6

What Do Byssus and Crimson Imply about the Hebrew Bible and the Septuagint?

58%

Rambiert-Kwaśniewska A. M.

The Biblical Annals

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2018

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vol. 8

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issue 3

297-317

PL

Fabrics such as byssus and crimson wool can provide us with a surprisingly large amount of information about the circumstances of Biblical books origin. Analysis of lexis related to mentioned textiles, present in Exodus and in Chronicles, allows to notice a meaningful change, occurring in technical biblical terminology. In Exodus, byssus is represented by שֵׁשׁ and crimson – by תּוֹלַעַת שָׁנִי, whilst in Chronicles naming is changed respectively to בּוּץ and כַּרְמִיל. Analysis of etymology leads to the conclusion, that textiles mentioned in Torah belong to an early vocabulary, created in the times before the exile, in Chronicles, on the other hand, encountered terms belong to period of Babylonian captivity or after the exile. Confrontation of these textiles with the other, non-biblical sources, provides a confirmation of proposed dating and facilitates identification of mysterious biblical byssus, which turns out to be a very thin linen and not – as sometimes confused – sea silk. Juxtaposition of the Greek equivalents allows to draw a conclusion, that terminology of both Torah and Chronicles was known to the LXX translators, who – despite a clear caesura – translate terms consequently: שֵׁשׁ and בּוּץ to βύσσος/βύσσινος, and תּוֹלַעַת שָׁנִי and כַּרְמִיל to κόκκινος

7

Kolor w przestrzeni miejskiej „Siedem” Davida Finchera

44%

Choczaj M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2013

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vol. 12

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issue 21

307-316

EN

The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.

PL

The Colour of Urban Areas in David Fincher’s Seven The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.

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2 Acta onomastica

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Polish Psychological Bulletin

1 Przestrzenie Teorii

1 Studia Wschodniosłowiańskie

1 The Biblical Annals

1 Choczaj M.

1 Hamamura T.

1 Jiang F.

1 Kosicka-Pajewska A.

1 Rambiert-Kwaśniewska A. M.

1 Soloduško, Ol'ga

1 Sorokowska A.

1 Sorokowski P.

1 Stachowski K.

1 Szmajke A.

1 Чмир А.

1 2022

1 2021

2 2018

1 2016

1 2014