Search results - CEJSH

1

Przygotowanie i dziękczynienie (kan. 909 KPK)

100%

Dullak K.

Colloquia Theologica Ottoniana

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2013

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issue 2

121-132

EN

Canon 909 CIC in a concise, yet suggestive indicates the need for proper preparation by prayer to celebrate the Eucharist, and then make a thanksgiving to God for the salvation events taking place here and now, during the celebration of the Holy Sacrifice. Pastors of the Church in Poland suggest that the next private prayer language should be restraint leads to focus on in silence. Event Saints good experience also serves as a prior preparation of the liturgy of the spatial (space liturgical design) and limited (singing, people associated with the service of the liturgy). The preparation phase is the celebrant himself as well as all the participants in the liturgy. This eventually leads to gratitude to God manifested in an attitude of thanksgiving at the end of the liturgical celebrations.

2

Le silence moderne dans « l’écriture à trou » de Valère Novarina

100%

Li J.

Quêtes littéraires

|

2017

|

issue 7

211-220

EN

This article analyses the modern vision of silence and its representation in Valère Novarina’s “holed writing”. His “verbal drama” aims to deprive the language of its communicative utilities and to restore its autonomy and theatricality, through the silence of structure and the silence of meaning. The Novarina’s silence, destined for the stage and the space, is manifested in the word itself, in the act of speaking, and in the breath.

3

Pojęcie przestępstwa lingwistycznego i jego typologie

100%

Falana-Jafra A.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2021

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vol. 28

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issue 1

45-56

EN

The aim of the article is to formulate a definition of linguistic crimes as a specific type of crimes penalised in Polish criminal laws and to categorise them according to the following criteria: the nature of the perpetrator’s enforcement activities; the use of language or failure to use it; the length of the linguistic enforcement activities; the authorship of statements; the nature of the legal good to be protected. Human behaviour, which is legally classified as a linguistic offence, is performative in nature and therefore has the legal effect of making the offender criminally responsible and of imposing criminal sanctions on him/her by the competent state authorities. In the article, the performative function of language will be extended to include the notion of passive performativity, resulting from an offence committed as a result of the failure to use language in situations where its use is required by the legal system.

4

Pinteresque Dialogue

100%

Uchman J.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

386-401

EN

The expression “Pinteresque” describing the characteristic features of Harold Pinter’s artistic output, established its position as a literary critical denominator many years ago. The aim of this article is to analyze some of the specific aspects of the playwright’s use of language. On several occasions, the artist made comments pertaining to certain issues concerning communication. He rejected the idea of the alienation of language and promoted the concept of evasive communication, thus showing people’s unwillingness to communicate. He also spoke about two kinds of silence, the first referring to a situation where there is actual silence, when “no word is spoken,” and the second , when “a torrent of language is being employed” in order to cover the character’s “nakedness.” Accordingly, Pinter’s plays may, depending on their perspective, be treated as dramas of language or of silence. This led Peter Hall, Pinter’s favourite theatre director and also a close friend, to notice that in the playwright’s oeuvre there is a clear distinction beween three dots, a pause and a silence. This article discusses in detail the uneven distribution of pauses and silences in Harold Pinter’s 1977 play, Betrayal. It becomes evident that the use of different kinds of silence clearly indicates the emotional state of the characters at any given moment.

5

Семантико-стилистическая характеристика слова тишина в произведениях Михаила Пришвина (на материале книги «Зеленый шум»)

100%

Попов (Popov) К. K., Софийский университет (Болгария)

Acta Universitatis Lodziensis. Folia Linguistica Rossica

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2012

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vol. 08

EN

The present paper considers the word ‘silence’ (‘тишина’), which is perceived as one of the words that in artistic language of Prishvin have expressive value, despite their lack of a referent. For that reason the word ‘silence’ can be described as metaphorical and polyfunctional and it always plays a significant ideological and artistic role. The author of the paper discusses different ways in which the lexem in question functions in collocations, taking into consideration its associative as well as connotative potentiality.

6

Mallarmé, Valéry et le silence (dés)incarné

100%

Opiela-Mrozik A.

Quêtes littéraires

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2017

|

issue 7

82-92

EN

This article analyses the essence and roles of silence in the œuvres of Mallarmé and Valéry. The Mallarmé’s musicality gradually gives way to the silent music of words; poetry is becoming spatial and takes the form of the music score. In the poem Coup de dés it gets up to the incarnation of silence which shows the ideal of the Mallarmé’s musicality; the ideal in which an eye serves to listen. The theme of music and silence reappears in the Valery’s œuvre. In spite of the connection between music and architecture, which can incarnate silence, poetry uses the subjectivism of music and the ambiguity of silence to achieve the ideal of pure art which is hidden in the artist’s interior. Silence as nothingness is the starting point for poetry whereas non-incarnated silence can express the mystical sense of poetry

7

« Ils veulent conjurer le silence ». Ellipses et non-dits chez Andreï Makine

100%

Mistreanu D.

Quêtes littéraires

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2017

|

issue 7

182-191

EN

: The concept of silence is at the core of the Andreï Makine’s writing. Thus, the aim of this article is to underline its manifold manifestations in the FrancoRussian author’s literary creation. The first part of the article argues that biographical gaps are constitutive of his author image (Amossy, 2009), since he is the only member of the French Academy whose biography is still largely unknown, while the second and third parts focus on the narrative and stylistic usages of silence in his novels, as well as on Makine’s philosophy of creation, namely the “theory of the triple birth” (Osmonde, 2011), partially described in his texts.

8

Pinteresque Dialogue

100%

Uchman J.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

386-401

EN

The expression “Pinteresque” describing the characteristic features of Harold Pinter’s artistic output, established its position as a literary critical denominator many years ago. The aim of this article is to analyze some of the specific aspects of the playwright’s use of language. On several occasions, the artist made comments pertaining to certain issues concerning communication. He rejected the idea of the alienation of language and promoted the concept of evasive communication, thus showing people’s unwillingness to communicate. He also spoke about two kinds of silence, the first referring to a situation where there is actual silence, when “no word is spoken,” and the second , when “a torrent of language is being employed” in order to cover the character’s “nakedness.” Accordingly, Pinter’s plays may, depending on their perspective, be treated as dramas of language or of silence. This led Peter Hall, Pinter’s favourite theatre director and also a close friend, to notice that in the playwright’s oeuvre there is a clear distinction beween three dots, a pause and a silence. This article discusses in detail the uneven distribution of pauses and silences in Harold Pinter’s 1977 play, Betrayal. It becomes evident that the use of different kinds of silence clearly indicates the emotional state of the characters at any given moment.

9

Le silence des fous chez Zola et Maupassant

100%

Kaczmarek-Wiśniewska A.

Quêtes littéraires

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2017

|

issue 7

73-81

EN

It is difficult to define all the meanings and connotations of silence depicted in literary works. In the 19th century, where the Realism and the Naturalism paid much attention to the study of both physical and mental illnesses, silence was considered as one of the distinctive signs of madness. The paper analyzes four examples of this phenomenon in selected Zola’s and Maupassant’s texts (novels and short stories) whose characters, all mad or maniac, embody various aspects of the silence regarded as a pathological condition of a human being.

10

Le silence dans la correspondance de Mme de Maintenon, ou l’art d’un style qui se tait

100%

Boiron A.

Quêtes littéraires

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2017

|

issue 7

12-22

EN

Mme de Maintenon’s letters often refer to religious silence. Heart of a christian woman’s life, silence is indeed a way to achieve salvation. Practising silence, both in speaking and writing, allows one to master and reduce one’s pride. It is then a good tool to control others, as it is to pursue a spiritual fulfilment.

11

Czy milczenie zawsze jest złotem? Percepcja ciszy i milczenia na zajęciach z praktycznej znajomości języka angielskiego

89%

Wiśniewska D.

Neofilolog

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2012

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issue 38/1

61-76

EN

Formal foreign language teaching involves verbal and non-verbal interactions among the participants of language classes. The nature of these interactions may play a decisive role in the success or failure in language learning. The research described in this paper attempted to gain insight into students' perceptions of silence occurring during classroom language learning, to identify its causes and effects, and to appraise its potential value for learners.

12

W milczeniu

89%

Krajewska A.

Przestrzenie Teorii

|

2015

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issue 23

EN

This is a memoir of Professor Kazimierz Bartoszyński. The theme of this essay is silence – literary silence, which is the result of convention, anecdotal silence, which prompts scholarly meetings and friendships, and metaphysical silence, which is connected with death.

13

Le manque en tant que métaphore de l’écriture : de l’indicible et du mot-absence chez Marguerite Duras

89%

Ledwina A.

Quêtes littéraires

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2011

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issue 1

73-86

EN

Marguerite Duras’s works deal with the problems typical of the literary studies in the second half of the twentieth century: presence and absence, abandoning chronological order of events, and eroticism. This article analyses her literary technique, including text fragmentation and elliptical style. The author searches for appropriate means of expression, often using silence and loneliness in keeping with her vision of absence attributed to women, kept silent by the dominant culture. Omissions in the narrative emphasise the inexpressible, beyond rational. Absence is meaningful, e.g. the missing photograph in The Lover. Absence also implies a desire to change and to write. Duras shows the problem in the context of a hidden image and an act of creation. The missing word alludes to a search of self. The author grasps complexity and diversity of absence. It is part of the theme, style, and text structure, emphasising the limitations of the language and the powerlessness of the protagonist.

14

Le silence de la personne présente dans le théâtre français du XXe siècle

89%

Modrzejewska K.

Quêtes littéraires

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2012

|

issue 2

93-100

EN

The consideration of the silence of a present person in some French 20th century drama reveals the power and the cruelty of human silence. The play by Anouilh displays the destiny of a woman who is convicted to be a voiceless witness, whereas the one by Beckett shows the silence of a husband begged by his companion to confirm her presence. In the play by Lagarce, the agony of an ungrateful son unleashes a torrent of complaints pronounced by a women belonging to his family. Finally, both of the analysed plays by Sarraute show the consequences of silence in relations between friends.

15

Ile ciszy w Ciszy? [rec. Małgorzata Wojcik, Rafał Żak: Cisza. Warszawa: Wydawnictwo Naukowe PWN SA, 2018, ss. 206.]

89%

Lniak A.

Śląskie Studia Polonistyczne

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2018

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vol. 11

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issue 1

211-219

EN

The article is an attempt to discuss Małgorzata Wojcik and Rafał Żak’s book Cisza and place it in a wider context. The analysis of this work, dealing with different faces and meanings of silence, becomes a point of departure for a wide-ranging story about the significance of silence in the 20th century art, as well as about the necessity of posthumanist perception of silence. The key context for the proposed argument is John Cage’s piece 4,33’’ and the reflections accompanying the American composer during his creation of the work. The latter ones are essential not only for the author of this article but they also constitute a leading motif of the analysed book.

16

Les aspects et les enjeux du silence dans Jacques le fataliste de Diderot

88%

Sassi-Taktak S. B.

Quêtes littéraires

|

2017

|

issue 7

23-33

EN

The novel presents a variety of writings of silence; but we limit ourselves, in the context of the present work, to the most relevant aspects, namely interruptions in narratives, narrative ellipses and point of suspension as the particular language of silence . These three modalities nevertheless serve aprolix discourse, and are innovative . Suddenly the novel exemplifies what contemporary literature calls the anti-novel

17

Silence and Human Development

88%

Olearczyk T.

Paedagogia Christiana

|

2020

|

vol. 1/45

53-64

EN

This article seeks to answer a fundamental question: What has made silence a scarce commodity, even though it is among the more important human needs? The impact of silence on human development over the course of a lifetime, and in relationships with others, is shown. The affirmative aspects of silence from an anthropological perspective, as a natural human need that contributes to the development of full humanity, is underlined. With this aim, the article clarifies the differences between silence in the sense of quiet hush, and in the sense of keeping quiet; and between solitude and loneliness. The paper concentrates on the positive influence of silence on personality development and purposely omits the negative aspects of silence, since they do not serve the integral development of the person – this issue needs a separate discussion.

PL

W artykule podjęto próbę odpowiedzi na fundamentalne pytanie: co sprawiło, że cisza stała się towarem deficytowym, choć jest jedną z ważnych potrzeb człowieka? Ukazano znaczenie, jakie ma cisza w rozwoju człowieka na różnych etapach jego życia oraz w relacjach z innymi. Zwrócono uwagę na afirmatywne aspekty ciszy w ujęciu antropologicznym, jako naturalnej potrzeby człowieka, służącej jego rozwojowi ku pełni człowieczeństwa. W tym celu starano się wyjaśnić różnice między ciszą i milczeniem, samotnością i osamotnieniem. W tekście skoncentrowano się na pozytywnych cechach ciszy i świadomie pominięto jej negatywne aspekty, które nie służą rozwojowi osobowości – to zagadnienie wymaga oddzielnego omówienia.

18

Les silences dans la dramaturgie giralducienne

88%

Bombard F.

Quêtes littéraires

|

2017

|

issue 7

123-131

EN

Technical and rhetorical devices used by Giraudoux to indicate silence varyduring its dramatic production. Silences have to do with relationships of the characters, both emotionally and dialogal, and are sometimes loaded the unspoken or unspeakable. By their relationship to the word and to the game, they are at the heart of a dramaturgy that oscillates between mimesis and rupture. And certain silences are like the limit assigned to the power of words in a theater yet claimed as literary.

19

O silêncio nas páginas de Novas Cartas Portuguesas (Maria Isabel Barreno, Maria Teresa Horta e Maria Velho da Costa) e na imagética monocromática de Helena Almeida – uma perspetiva interdisciplinar

88%

Infante da Câmara P.

Studia Iberystyczne

|

2014

|

vol. 13

99-110

EN

It is with greatest expression that, in the 1970s, the Portuguese female authors begin to claim a social space and a voice of their own, mostly through literature but also, even though more occasionally, in the field of visual arts. Dancing and creating from and around silence, they try to break free from it in order to broaden the horizons of a feminine worldview – and at the forefront of this cultural battle cannot go unnoticed names like Maria Isabel Barreno, Maria Teresa Horta, Maria Velho da Costa (the Three Marys) or Helena Almeida, stretching the threads of the ball that would allow them to get to the weaving of a new collective discourse and to participate in it with a relevant and compelling originality.

20

Some Problems Connected with Examining Silence and Being Quiet while Interaction Rituals and Everyday Conversations

88%

Nowakowska-Kutra A.

Kultura i Edukacja

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2017

|

issue 2(116)

95-105

EN

Both conversational analysis and examination of interactive rituals concentrate on distinguishing the structure of everyday conversations and language definition of social situations of the social interaction participants. It seems though that the researchers devote too little attention to the development of methods and techniques of research, detailed analysis of the transcription of keeping quiet by the participants of the social interaction. The aim of the article is to focus attention on the problems of treating meaningful silence by researchers as a speech, the tool and means of social actor expression, as important as other parts of speech. Some social contexts and conditions of silence were shown within different situations and worlds. The causes, results and myths of employees silence were presented. Silence was analysed in the context of existing in social worlds orders as a sign of crystallization and formation of statuses and micro social processes with special attention on the role of silence of social actors. The text uses some experience of language researchers, sociologists of language and emotion.

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