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1

Wobec genologii. Gatunek indywidualny Julii Hartwig

100%

Baran M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2017

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vol. 5

203-219

PL

In the context of genology. Julia Hartwig’s individual genre The article relates to three collections of poetry written by Julia Hartwig entitled Błyski, Zwierzenia i błyski, Trzecie błyski. Those miniature notes form a collection of omnidirectional traces and signs, characterized by its structural and thematic heterogeneity. Poetics notes contained in discusses volumes execute atypical literary form which is lapidaries. Hartwig while creating further poems, she heads a for authorial poetics, she generates entirely individual genre. Błyski also come in various analogic relations with Hartwig’s another poems placed in different poetry volumes. It proclaims the repeatability of topics, motives and structures in Hartwig’s writings, even the rewriting of her own lines and verses.

2

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

88%

Király H.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

67-86

EN

The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1

3

Ritual tradition and transfer between shape and meaning – model beer jars in stone and pottery

75%

Arias Kytnarová K., Jirásková L.

Pražské egyptologické studie (Prague Egyptological Studies)

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2015

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issue 15

59-68

EN

Recent research of vessels made in stone and pottery, undertaken by the present authors, proves the existence of a strong interconnection and transfer of shapes between these two materials. The aim of this paper is to follow one particular group of vessels, namely that of beer jars, and their possible models in stone and ceramic. These miniatures or models represent an example of ideological transformation and at the same time ritual tradition in the meaning and function of such vessels. Such morphological influence was often transferable but could later lead to an independent development of a new type. The authors herein discuss the paths of formal inspiration, the process of changes and the influence on the examples of regular large-size beer jars made in pottery and compare them to ceramic and stone model beer jars. The article introduces the source of inspiration for the model vessels, their purpose, and further evolution during the course of the Old Kingdom.

4

Miniaturowe perspektywy urbanistyczno-krajoznawcze Karela Čapka

63%

Skibska A. M.

Bohemistyka

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2018

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issue 2

105-136

EN

Miniature urban-tourist perspectives of Karel Čapek – in the essay, I make an attempt to cast some light on the Czech writer’s affection for detail of which poetics wields a description of space discovered by the author of Hordubal during his European voyages. Derived from a concept of “small nation”, interpreted – on the contrary to Milan Kundera – in the spirit of affirmation, this affection is expressed by a specific rhetorical dialectics of litotes and hyperbole which generates a narrative about small and often one-time “memorials” to the places visited by Čapek.

PL

Miniaturowe perspektywy urbanistyczno-krajoznawcze Karela Čapka – w eseju próbuję rzucić nieco światła na umiłowanie detalu władającego opisem przestrzeni odkrywanej przez twórcę Hordubala w czasie jego europejskich wojaży. Wywiedzione z koncepcji „małego narodu”, interpretowanej – w przeciwieństwie do Milana Kundery – w duchu afirmacji, umiłowanie to wyrażane jest poprzez szczególną retoryczną dialektykę litoty oraz hiperboli, która wytwarza narrację o małych, często jednorazowych „pomnikach” miejsc przez Čapka odwiedzanych.

5

Жанр мiнiяцюры ў творчасцi Янкi Брыля: ад “Жменi сонечных промняў” да “Парастка”

51%

Альштынюк А.

Białorutenistyka Białostocka

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2016

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vol. 8

PL

W artykule mówi się o ewolucji gatunkowej i tematycznej krótkich utworów prozatorskich znanego pisarza białoruskiego Janki Bryla (1917–2006), nazywanych w terminologii białoruskiej „miniaturami lirycznymi”, które uprawiał w ostatnich czterdziestu latach życia. J. Bryl rozpoczyna od ulotnych zapisów swoich obserwacji i przemyśleń dotyczących życia codziennego i stopniowo zagłębia się w problematykę ogólnoludzką – losu, twórczości, przemijania, śmierci, przeznaczenia. W artykule podkreślono znaczenie i wpływ osobistych przeżyć Bryla na kształtowanie się jego pisarskiej osobowości oraz na sposoby ich wykorzystania w tego rodzaju prozie.

EN

The article discusses the genre and thematic evolution of short pieces of prose written by the famous Belarusian writer Yanka Bryl (1917–2006). They are known in the Belarusian terminology as “lyrical miniatures” and they were written in the last forty years of his life. Bryl begins with elusive records of his observations and thoughts about everyday life and gradually goes into general human issues, such as fate, creativity, passing of time, death, destiny. The article emphasizes the importance and influence of Bryl’s personal experience on his formation as a writer and on the way the experience is used in this genre of prose.

6

Najstarsze wizerunki Jana Długosza

51%

Bogus-Spyra M.

Archiwa, Biblioteki i Muzea Kościelne

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2019

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vol. 112

17-42

EN

The following article attempts to describe the appearance of Jan Długosz referring to the three images contemporary with the chronicler: a miniature (or rather its copy) coming from Vita Beatae Kunegundis of Stary Sącz, a polychrome discovered in the so-called Długosz House in Wiślica, and a low relief placed in the foundation plaque of the Psalter House in Krakow. Thanks to the analysis of the surviving images of the 15th century, it was possible to establish the most characteristic features of the chronicler’s face. The medieval portraits of Długosz differ markedly from his images created in later centuries. Thus, it can be argued that the depictions of the chronicler (an artistic interpretation) provided by Jan Ligber, Michał Stachowicz, and especially Jan Matejko – the one which a number of drawings, paintings, sculptures and medals were modelled on (Bronisław Puc, Walery Gadomski, Wacław Głowacki, Aleksander Szyndler, Florian Cynk) – bear little resemblance to Długosz’s real physical appearance.

PL

W artykule podjęto próbę opisu wyglądu Jana Długosza na podstawie trzech wizerunków współczesnych kronikarzowi: miniatury (a raczej jej kopii) pochodzącej z starosądeckiego egzemplarza Vita Beatae Kunegundis, polichromii odkrytej w tzw. Domu Długosza w Wiślicy i płaskorzeźby z tablicy fundacyjnej Domu Psałterzystów w Krakowie. Analiza zachowanych przedstawień z XV wieku pozwoliła uzgodnić najbardziej charakterystyczne cechy zewnętrzne oblicza dziejopisarza. Średniowieczne portrety Długosza znacząco różnią się od ujęć wizerunkowych artystów wieków późniejszych, tym samym wyobrażenie postaci – twórcza interpretacja Jana Ligbera, Michała Stachowicza, a nade wszystko Jana Matejki, która stała się wzorem dla wielu grafik, rysunków, obrazów, rzeźb i medali (Bronisław Puc, Walery Gadomski, Wacław Głowacki, Aleksander Szyndler, Florian Cynk), w niewielkim stopniu oddaje prawdę o antropologii fizycznej kronikarza.

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1 Acta Universitatis Sapientiae, Film and Media Studies

1 Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

1 Archiwa, Biblioteki i Muzea Kościelne

1 Białorutenistyka Białostocka

1 Bohemistyka

1 Pražské egyptologické studie (Prague Egyptological Studies)

1 Arias Kytnarová K.

1 Baran M.

1 Bogus-Spyra M.

1 Jirásková L.

1 Király H.

1 Skibska A. M.

1 Альштынюк А.

1 2019

1 2018

1 2017