Search results

1

Meandry kultury popularnej

100%

Łeńska-Bąk K.

Rocznik Antropologii Historii

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2017

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issue 10, Antropologia - folklor - historia

95–106

XX

Popular literature has always been raising many different emotions and research issues. One of the research groups, represented by Piotr Kowalski, criticized popular literature thoroughly. A new wave of scientists emerged in the nineties. They tried out different research methods, criticizing popular literature (especially fantasy) much less than might be expected. This met with a huge degrees of scepticism from Kowalski who did not agree with those methods and tried to prove them wrong in his two last publications. This article presents Kowalski's views, in the meantime trying to argue with them.

2

Decentred Geographies: Poetics and Politics of the Avant-garde

87%

Božić Blanuša Z.

Poznańskie Studia Slawistyczne

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2020

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issue 18

49-66

PL

Thanks to the work of Pascale Casanova, Franco Moretti, David Damrosch and many others, over the past two decades, the concept of world literature has once again become the subject of thorough examination within the field of literary studies, especially in relation to cosmopolitanism and globalization. When it comes to the study of individual national literatures and specific regional contexts, as well as to the definition of comparative literature as a discipline, debates regarding its background, its reach and limitations could not be ignored. World literature thus appears as a heterogenous entity – always manifesting in different contexts in different forms – consistently in dialogical exchange with specificities of a particular literature and culture. Instead of discussing the problematic relation between centre and periphery or criticizing the idea of global literary and cultural canon, the avant-garde as an international and global phenomenon that appears even more radically on the so-called periphery is what is of primary interest to me. Therefore, the purpose of this paper is to demonstrate that avant-garde (in its various forms and radical expressions) simultaneously challenges art as an institution and introduces the idea of a decentred geography of world literature.

3

Being Otherwise: How Events Become Things? Or Levinas Reads Hamlet.

75%

Zouidi N.

Zagadnienia Rodzajów Literackich

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2013

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vol. 56/111 z. 1

123-137

XX

Performance is usually seen as a transient event. Hamlet calls it a thing. How can an event become a thing? Philosophy distinguishes between things and events. The two orders are different. Their difference is articulated in terms of time. Things are continuous, while events are evanescent. Hamlet calls the play within the play a ‘thing’ (Hamlet. II. Ii. 612). He thus thrusts it into the order of the continuous. Levinas introduces the concept of being otherwise. In order to explain the evanescent continuity, we will make use of this concept. Acting introduces a new mode of being that differs from that of writing. It is „eventive” continuity that we wish to speak about. An actor is only otherwise. By this, we mean that s/he is essentially a difference. An actor is only what s/he is not. By being a difference, the actor survives. Actors do not die. It is true that actors are mortals but the role will survive being acted. Unlike writing, where the word survives as a fixed monument, the role survives through repetition. This repetition is a recreation through repetitive simultaneity. When Iago says: I am not what I am (Othello. I. i. 65), he defines himself as a simultaneous difference. To be only as difference is quite challenging. Indeed, if the only mode of being is being otherwise, we speak about pure difference. Pure difference — total otherness that has no other — is the essence of acting. In the following essay, we intend to explore the generic question of temporality through a comparison between the monumentality of writing and that of acting. We will try to explain how a play is a thing, a continuous mode of being.

4

O konwencjonalnym charakterze pojęcia jednoczesności w Szczególnej Teorii Względności

75%

Pabjan T.

Zagadnienia Filozoficzne w Nauce

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2005

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issue 37

53-72

PL

To be able to determine the simultaneity of distant events, one has to make use of a convention. Einstein's famous definition of simultaneity, which sets e=1/2 , is a case of such a convention. The problem, dealt with in this paper, is to answer the question of whether the choice of such a convention is obligatory or not. The partisans of conventionality of simultaneity argue, that the standard synchronization procedure of clocks, based on the Einstein's definition, is not necessitated by facts concerning the physical universe, but can be replaced by any procedure originating from the definition of simultaneity, given 0 < e < 1. The present article contains some arguments in favor of, as well as against, the conventionality of simultaneity. Apart from Einstein's standard synchronization procedure, special attention is paid to Reichenbach's definition of simultaneity and Malament's theorem. Some attempts at giving an absolute definition of simultaneity are also presented. Finally, an argument from the rationality of the world is formulated.

5

Towards a Classification of Weak Hand Holds

75%

Kimmelman V., Sáfár A., Crasborn O.

Open Linguistics

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2016

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vol. 2

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issue 1

EN

The two symmetrical manual articulators (the hands) in signed languages are a striking modalityspecific phonetic property. The weak hand can maintain the end position of an articulation while the other articulator continues to produce additional signs. This weak hand spreading (hold) has been analysed from various perspectives, highlighting its prosodic, syntactic, or discourse properties. The present study investigates corpus data from Sign Language of the Netherlands (NGT) and Russian Sign Language (RSL), two unrelated sign languages, in order to question the necessity of a sign-language specific notion of ‘buoy’ introduced in the discourse analysis of American Sign Language by Liddell (2003). Buoys are defined as weak hand holds that serve as a visible landmark throughout a stretch of discourse, and several types are distinguished based on their function and form. In the analysis of nearly two and a half hours of narratives and conversations from NGT and RSL, we found over 600 weak hand holds. We show that these holds can be analysed in terms of regular phonetic, syntactic, semantic, or discourse notions (or a combination thereof) familiar from the linguistic study of spoken languages, without the need for a sign language-specific notion of ‘buoy’.

6

Zum sprachlichen Ausdruck der Simultaneität. Eine Untersuchung zum Deutschen

75%

Wierzbicka M.

Forum Filologiczne Ateneum

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2020

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vol. 8

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issue 1

59-74

DE

Der vorliegende Beitrag diskutiert den sprachlichen Ausdruck von Relationen der völligen Gleichzeitigkeit im Deutschen. Obwohl es zur Bezeichnung temporaler Beziehungen eine Liste von Möglichkeiten gibt, wie Partizipial-, Nominal-, Präpositional- oder Infinitivphrasen, ist das eigentliche Temporalsatzgefüge das bei weitem häufigste temporale Ausdrucksmittel. Das Temporalsatzgefüge hat nahezu unbeschränkten Anwendungsbereich, der von dem fast nur angedeuteten Zusammenhang bis zur zwingenden Notwendigkeit, von Allgemeinaussagen und didaktischen Erläuterungen bis zu emotional bestimmten Motivationen reicht. Wo immer ein temporaler Zusammenhang zwischen Tatsachen, Ereignissen, Handlungen und Verhältnissen oder auch zwischen persönlichem Wollen und Fühlen gesehen wird, lässt sich dies in einem Temporalgefüge darstellen. Den Untersuchungsgegenstand dieses Beitrages bildet darüber hinaus der Einfluss von den Subjunktoren während, als, wenn, seit(dem) und solange auf die zeitliche Anordnung der im Temporalsatz und im übergeordneten Satz eingeführten Situationen unter Berücksichtigung verschiedener morphologischer, syntaktischer und semantischer Faktoren.

EN

The paper discusses ways of expressing temporal relations of simultaneity in the German language. Although the relations can be expressed by participle phrases, noun phrases, prepositional phrases and infinitive phrases, the adverbial clause is the most frequent means of expressing the relations. The temporal adverbial clause has an almost unlimited range of application, which stretches from a vaguely hinted relation to absolute necessity, and from general statements and clarifications to definite emotionally motivated utterances. Wherever there is an obvious connection between facts, events, actions, relations as well as personal will and feeling, it can be expressed by means of a temporal structure. The subject of the paper is the influence of conjunctions während, als, wenn, seit(dem) and solange on the time arrangement of situations introduced into the time clause and the main clause with regard to morphological, syntactic and semantic elements and dependence on the relation of the correspondence between events in the time clause and events in the main clause in German.

7

The hermeneutics of the image – sensual appearance of sense

75%

Weichert K.

Estetyka i Krytyka

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2016

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issue 4(43)

187-202

EN

The task of the hermeneutics of the image is to grasp the sensual emergence of meaning, to describe the conditions of its forming and the possibilities for its understanding. Gottfried Boehm suggests an answer to the question about sensual sense and formulates the most important aspects of the potential for creation of meaning. This potential is rooted in iconic difference, which manifests itself both through the liberating power of contrast and as a relation between the part and the whole – that is, a relation between transitions, or consecutiveness, and the simultaneity of the image. Sensuality, which organises and articulates the pictorial meaning, remains unseen, even elusive – “empty” – though it drives the play of difference and oscillation.

8

Gleichzeitigkeitsrelationen in den als- und wenn-Temporalsatzgefügen im Deutschen

75%

Wierzbicka M.

Linguistische Treffen in Wrocław

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2018

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issue 14

199-206

EN

Temporal Relations of Simultaneity in Adverbial Clauses with als and wenn in German The paper discusses ways of expressing the temporal relations of simultaneity in adverbial clauses with als and wenn in the German language. Although the relations can be expressed by participle phrases, noun phrases, prepositional phrases and infinitive phrases, the adverbial clause is the most frequent means of expressing the relations. The temporal adverbial clause has an almost unlimited range of application which stretches from vaguely hinted relation to absolute necessity, and from general statements and clarifications to definite emotionally motivated utterances. Wherever there is an obvious connection between facts, events, actions, relations as well as personal will and feeling, it can be expressed by means of a temporal structure.

DE

Der vorliegende Beitrag diskutiert den sprachlichen Ausdruck der Gleichzeitigkeitsrelationen in den als- und wenn-Temporalsatzgefügen im Deutschen. Obwohl es zur Bezeichnung temporaler Beziehungen viele Möglichkeiten gibt, wie Partizipial-, Nominal-, Präpositional- oder Infinitivphrasen, ist das eigentliche Temporalsatzgefüge das bei weitem häufigste temporale Ausdrucksmittel. Das Temporalsatzgefüge hat nahezu unbeschränkten Anwendungsbereich, der von dem fast nur angedeuteten Zusammenhang bis zur zwingenden Notwendigkeit, von Allgemeinaussagen und didaktischen Erläuterungen bis zu emotional bestimmten Motivationen reicht. Wo immer ein temporaler Zusammenhang zwischen Tatsachen, Ereignissen, Handlungen und Verhältnissen oder auch zwischen persönlichem Wollen und Fühlen gesehen wird, lässt sich dies in einem Temporalgefüge darstellen.

9

Embracing Simultaneity: The Story of "Ślesa" in South Asia

63%

Bronner Y.

Cracow Indological Studies

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2013

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vol. 15: Text History and Society as Depicted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose

119-141

EN

This essay deals with literary works that combine two or more topics, characters, or plotlines and convey them concurrently to their respective destinations. It is based on my monograph Extreme Poetry: The South Asian Movement of Simultaneous Narration (Bronner 2010), where I discuss this phenomenon at length. Here I will limit myself briefly to presenting three main points: that the dimensions of the śleṣa phenomenon in South Asia are enormous, that experiments with artistic simultaneity have a demonstrable and meaningful history, and that this is the history of a self-conscious literary movement. I conclude with three brief examples of ślesa verses from three very different works that exemplify some of the poetic uses to which śleṣa was put and that demonstrate how the literary movement under discussion used śleṣa to advance the aesthetic projects of South Asian culture and push them to the extreme.

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