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1

Uwagi o formie metrycznej polskich i ukraińskich wierszy Łazarza Baranowicza

100%

Gutsuliak M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2017

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vol. 5

192-202

PL

Polish and Ukrainian Poems of Lazar Baranovich in Metrical Aspect The purpose of the article is to provide a versificational analysis of poems written by Lazar Baranovich, the 17th cent. Ukrainian-Polish writer and church figure. The poems are investigated mainly in metrical aspect (partially also in stanzaic and rhyming aspects). The article shows which formal means were used frequently and which rarely. There is also an attempt to explain the motives of author’s application of a certain meter. ”Apollo’s Lute”, Baranovich’s poetry collection in Polish (1671), served to be the main textual source for the analysis.

2

Zastosowanie liczników energii elektrycznej w procesach przemysłowych

86%

Wnukowska B.

Zeszyty Naukowe Collegium Witelona

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2023

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vol. 4

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issue 49

13-24

EN

The application of electric meters in industrial processes is tied with rational energy economy. The administration and investigation of energy needs constitute key activities in industrial plants. The energy consumption control and regular measurements of production process efficiency in plants is the base of energy audit, which, as a consequence, leads to activities aimed at the reduction of energy consumption and the costs incurred.

PL

Zastosowanie liczników energii elektrycznej w procesach produkcyjnych jest związane z prowadzeniem racjonalnej gospodarki energetycznej. Zarządzanie i badanie potrzeb energetycznych w zakładzie przemysłowym jest czynnością kluczową. Kontrola zużycia energii oraz regularnie prowadzone pomiary dotyczące sprawności procesu produkcyjnego w zakładzie są podstawą audytu energetycznego, który w konsekwencji prowadzi do działań w kierunku obniżenia energochłonności produkcji i zmniejszenia ponoszonych kosztów.

3

Neural correlates of rhythmic expectancy

72%

Zanto T., Snyder J., Large E.

Advances in Cognitive Psychology

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2006

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vol. 2

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issue 2-3

221-231

EN

Temporal expectancy is thought to play a fundamental role in the perception of rhythm. This review summarizes recent studies that investigated rhythmic expectancy by recording neuro-electric activity with high temporal resolution during the presentation of rhythmic patterns. Prior event-related brain potential (ERP) studies have uncovered auditory evoked responses that reflect detection of onsets, offsets, sustains, and abrupt changes in acoustic properties such as frequency, intensity, and spectrum, in addition to indexing higher-order processes such as auditory sensory memory and the violation of expectancy. In our studies of rhythmic expectancy, we measured emitted responses - a type of ERP that occurs when an expected event is omitted from a regular series of stimulus events - in simple rhythms with temporal structures typical of music. Our observations suggest that middle-latency gamma band (20-60 Hz) activity (GBA) plays an essential role in auditory rhythm processing. Evoked (phase-locked) GBA occurs in the presence of physically presented auditory events and reflects the degree of accent. Induced (non-phase-locked) GBA reflects temporally precise expectancies for strongly and weakly accented events in sound patterns. Thus far, these findings support theories of rhythm perception that posit temporal expectancies generated by active neural processes.

4

Slave to the rhythm? O różnych sposobach definiowania rytmu

72%

Dziadek A.

Forum Poetyki

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2021

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issue 25

74-85

EN

This essay discusses different definitions of rhythm. The author thoroughly reviews the different definitions and approaches to rhythm in Polish and foreign-language (especially French and English) theoretical texts. He also refers to the texts of culture, including Grace Jones’s famous song Slave to the rhythm or Edward Pasewicz’s poem Sonata o rytmie [Sonata about rhythm].

PL

Zasadniczym problemem poruszonym w tym tekście są różnorodne sposoby definiowania rytmu. Autor dokonuje gruntownego przeglądu definicji i rozmaitych ujęć rytmu pojawiających się w polsko i obcojęzycznych (zwłaszcza francuskich i anglojęzycznych) tekstach teoretycznych, ale sięga także do tekstów kultury, m.in. znanej piosenki Grace Jones Slave to the rhythm.

5

Úvaha o rytmu v řeči, poezii i tak vůbec

72%

Čermochová K.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 26

79-88

EN

Rhythm is a concept, which is possible to employ in various contexts. This article imagines the normal understanding of rhythm as true structures and against which stand the understanding of the opposition of meter versus rhythm in the Czech versological tradition or the French ‘neoplatonic’ approach to rhythm with an emphasis on meaning and subject. This article is devoted as well to the rhythm of the spoken output of various languages and reminds on the division of languages by isochrony and isosyllabism. It will further examine the role of rhythmic language types in a selection of versifying systems and other circumstances, which influence these choices. The final part of the article will concern the rhythmical experiments of Otakar Theer and his drama Faëthón, perhaps one of the most expansive Czech texts written in accentual verse.

6

Allas and weilawei: Interjections in some of Chaucer’s Canterbury Tales (Fragment III: Wife of Bath, the Friar, the Summoner)

72%

Reber E., Sauer † H.

Academic Journal of Modern Philology

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2022

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issue 15

279-304

EN

We investigate Chaucer’s use of interjections in Fragment III of the Canterbury Tales, which comprises “The Wife of Bath’s Prologue and Tale”, “The Friar’s Prologue and Tale”, and “The Summoner’s Prologue and Tale”. We discuss the problem of how to distinguish interjections from other word classes, and we distinguish primary interjections such as allas, buf, ey, fy, hayt, lo, weilawei and secondary interjections, such as hayl, look, now, peace, welcome, why. As a third group we also take corroborative phrases such as by God into consideration. We look at the frequency of the various interjections: Now, lo, nay as well as a, by God, and pardee are frequent and occur in all the tales of Fragment III; on the other hand of the frequency scale there are buf, which is a hapax legomenon, and the rarely attested hayt. We describe the interjectional spectrum used in Fragment III based on their functions. Interjections can, for example, serve as indicators of emotions (allas, weilawei), as corroboratives (by God) and expletives (a devel weye), as discourse markers (now thanne), as response forms (nay, ye, yis), as polite speech act formulae (grant mercy, no fors), etc. The paper further offers an analysis of the phonology, morphology, verse meter and stress pattern. As the Middle English vocabulary generally, the etymology of the interjections is mixed: some go back to Old English, especially weilawei, but many were borrowed from French (or ultimately from Latin), e.g., allas, ey, fy, pardee. Chaucer’s characters often use not just one, but two or three interjections in combination, e.g., Allas! and weylawey! or allas nay, nay, mainly probably for additional emphasis. We suggest that that the interjectional spectrum in Fragment III (1) expands on Biber et al’s. (1999) inserts and Culpeper and Kytö’s (2010) pragmatic noise; (2) undergoes change like words; and is indexical (3) of a multi-lingual social context (4) and of oral and literary conventions.

7

Pojęcia „wiersz”, „metrum” i „rytm” w rosyjskiej tradycji naukowej

58%

Pilszczikow I.

Forum Poetyki

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2021

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issue 25

86-103

EN

A definition is called descriptive (or theoretical) when it identifies the object by enumeration of its properties or functions. A constructive (or practical) definition is an explicit description of its arrangement. Russian verse theorists proposed several theoretical definitions of verse (as opposed to prose), which are not, however, convertible into a constructive definition (a list of formal differences between verse and prose). To date, we are still not capable of developing an algorithm which would enable us to distinguish between prose and verse in general, but leading prosodists have produced both theoretical and constructive definitions of versification systems, verse meters, verse rhythm, and particular rhythmic types of individual meters. This article examines definitions of verse and descriptions of the relationships between meter and rhythm proposed by scholars of Russian poetry. Building on their observations, the author devises a constructive definition of the concept of “meter” as a system of permissions and prohibitions that govern the distribution of word stresses and word boundaries in a verse line. The article also formulates constructive definitions for the versification systems used in Russian poetry (such as syllabotonic verse, logaoedic verse, dolnik and taktovik, and pure accentual verse).

PL

Z punktu widzenia metodologii nauki wszystkie określenia mogą być podzielone na dwa typy: deskryptywnym (albo teoretycznym) określeniem nazywa się definicję wyznaczającą przedmiot poprzez wyliczenie wymaganych właściwości lub funkcji, zaś konstruktywnym (lub praktycznym) określeniem – eksplicytny opis budowy odpowiedniego przedmiotu. Rosyjscy wersolodzy sformułowali kilka teoretycznych określeń wiersza (w jego przeciwstawieniu do prozy), które jednakże nie konwertują się w konstruktywne określenie (wykaz formalnych cech odróżniających wiersz od prozy). Takie określenie nauce na razie nie jest dostępne. Tym niemniej możemy proponować deskryptywne i konstruktywne określenia systemów wersyfikacyjnych, metrum wierszowych i ich konkretnych odmian (rozmiarów), rytmu wiersza i rytmicznych typów konkretnych rozmiarów. W artykule rozpatruje się rozmaite próby określenia wiersza i wzajemnej zależności metrum i rytmu podejmowane w rosyjskiej tradycji badań nad wierszem. Na podstawie rozważań historyczno-naukowych proponuje się konstruktywne określenie samego pojęcia „metrum”, opisywanego jako system zezwoleń i zakazów na dystrybucję przedziałów międzywyrazowych i akcentów słownych w wersie, jak również konstruktywne określenia rozmaitych systemów wersyfikacyjnych wykorzystywanych w wierszu rosyjskim (sylabotonika, logaedy, dolniki i taktowiki, wiersz „czysto toniczny”).

8

Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

58%

Wiendl J.

Slovo a smysl - Word & Sense

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2019

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vol. 16

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issue 31

132-146

EN

This article presents an analysis of Václav Renč’s lyrical poetry from the period of his imprisonment by the Communist regime in 1951–1962. From Renč’s extensive collection of prison poems (including such lyrical-epic compositions as Cinderella of Nazareth, first published in book form in 1969; Prague Legend, 1974; and Loretan Light, 1992; as well as several poems collected in Meeting with the Minotaur, 1969) we take a look at the nineteen poems Renč included in an anthology of his works from 1941–1962 under the title Lark Tower (1970). To the section of lyrical texts from the years 1951–1962 the poet gave the title Without Echoes. In particular, the study focuses on how Renč’s lyrical poetry from the period of his imprisonment builds upon his previous critically acclaimed poetry, simultaneously aiming to address the question of what makes this work unique. The unique quality can be found in the formal precision of the texts, which represents the poet’s effort to maintain his moral integrity and identity while in prison, while at the same time, by virtue of carefully constructed allusions to the verses of certain poets with whom Renč had worked as a poet and translator before his imprisonment, strengthening his sense of inner freedom. A key starting point for the aesthetic composition of the prison poems is the combination of various expressive and often elementary contradictory motifs, perspectives or attitudes, a process typical of prison poetry in general. In Václav Renč’s poetry, this initial moment is re-envisioned on the principle of the so-called lyrical dichotomy, which, on the basis of subtle gradational and compositional techniques and intersections, connects distinctive opposites into subtle poetic images. However, this is not the expression of a selfcentered aesthetic game, but an attempt to articulate — and cope with — a new and exacting life situation. In this way, Václav Renč’s poetry, which had always been characterized by its compositional and figurative rigor, would later become more austere in its semantics, at the same time gaining in intensity, depth and reach.

9

Intonacja polskich wystąpień publicznych – od konferencji prasowej do mównicy sejmowej

58%

Bloch J.

Studia Medioznawcze

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2013

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issue 3 (54)

61-71

EN

Vocal signals are very important in making the desired impression. They are the main determinants of the first impression, which influences interpersonal relations. In most public appearances broadcast in the media, the speaker has an immense influence on the interest of the receiver and maintaining his attention. The article concerns the ways of delivering public appearances by politicians, civil servants and spokespersons. Speakers were chosen so that in each dominates a different prosodic element easily distinguished by receivers. Among the most common are: frequent use of pause, excessive use of stress, not ending the sentence with a full stop, flat intonation, inadequate emotional tone of voice. This one dominating feature in the speaker’s message influenced the poverty of melodic line. There was no effort to differentiate the way of presenting speeches, residing only on the most easily accessible feature. The analyzed examples are the most common media-present ways of speaking by public figures. They are an exemplification of reflections on the voice interpretation of a text: what elements of the spoken word can serve the purpose of the speaker, so that they make the desired impression on the audience.

PL

Sygnały wokalne są bardzo ważne dla wywierania pożądanego wrażenia. Stanowią one główne determinanty pierwszego wrażenia, które wpływa na relacje interpersonalne. W większości wystąpień publicznych emitowanych w mediach nadawca ma ogromny wpływ na zainteresowanie odbiorcy i utrzymanie jego uwagi. Praca dotyczy sposobu wygłaszania wystąpień publicznych przez polityków, urzędników państwowych oraz rzeczników prasowych. Mówcy zostali dobrani tak, by u każdego dominował inny element prozodyczny, łatwo wyodrębniany przez odbiorców. Wśród najczęściej spotykanych obserwujemy: częste posługiwanie się pauzami, nadmiar akcentów przyciskowych, brak zamykania zdań kropkami, płaskość intonacyjną, nieadekwatne do treści zabarwienie emocjonalne głosu. Dominująca w przekazie nadawcy jedna cecha wpływa na ubóstwo linii melodycznej wypowiedzi mówcy, który nie dąży do różnicowania sposobu wygłaszania wystąpień, lecz poprzestaje na najłatwiejszej w realizacji cesze. Analizowane przykłady są najczęściej występującymi w mediach sposobami wypowiadania się osób publicznych. Stanowią egzemplifikację rozważań nad głosową interpretacją tekstu: jakimi elementami techniki żywego słowa mogą posłużyć się mówcy, aby sprawić pożądane wrażenie na swoich odbiorcach.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

1 Studia Medioznawcze

1 Zeszyty Naukowe Collegium Witelona

1 Bloch J.

1 Dziadek A.

1 Gutsuliak M.

1 Large E.

1 Pilszczikow I.

1 Reber E.

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1 Snyder J.

1 Wiendl J.

1 Wnukowska B.

1 Zanto T.

1 Čermochová K.

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