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Nie taki wilk straszny… O edukacji ekologicznej w kontekście bajki Wilk Ambaras Tomasza Samojlika i jej wpływie na kształtowanie postaw proekologicznych dzieci i młodzieży względem wilków

100%
Naplocha A.
Studia Edukacyjne
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2019
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issue 53
321-340
EN
This article deals with the issue of achieving the goals of ecological education in the context of the fable The Wolf Called Ambaras by Tomasz Samojlik and its influence on shaping pro-ecological attitudes of children and adolescents towards wolves. The fable The Wolf Called Ambaras by Tomasz Samojlik is part of the literature trend promoting pro-ecological attitudes within the framework of ecological education. The main educational goal included in the story of the fable treating the adventures of the young wolf is to provide young readers and their parents the knowledge about the wolves’ life as well as public awareness of the need to protect the wolf by shaping positive attitudes of people towards this predator. Helpful in this assumption is taking up the problem of overthrowing negative stereotypes about wolves, on which the form of answers as well as attemption of demythologizing them are individual scenes of the fable. The plot of the analyzed fable attempts to answer the three main allegations of people towards wolves, which often appear in social, political and ecological discourse: the issue of wolves attacks on people, the impact of wolves hunting on forest game population and the public perception of a wolf as a bad animal, one unnecessary in the ecosystem. In addition, the bibliotherapeutic character of the fable was indicated. Through identificaiton with the character of the fable, readers can overcome their own fears related to their weaknesses and complexes based on the desensitization.
2
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Metaforyczne znaczenie wilka w kontekście samotności i osamotnienia bohaterów utworów „Samotność wilków” Marka Harnego oraz „Pogromcy wilków” Christopha Ransmayra i Martina Pollacka

100%
Naplocha A.
Studia Ełckie
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2019
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vol. 21
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issue 1
85-100
EN
The purpose of this article is to present a way of showing loneliness in two separate literary works. In the novel, The Solitude of Wolves by Marek Harny, the main character is Marek Nowicki. The discourse on the individualʼs loneliness towards traumatic experiences with wolves related to their childhood and for the Polish-Ukrainian conflict of the twentieth century is taken into account. A similar theme is included in the title reportage – The Wolf Hunter – written in the form of a literary duo by Christoph Ransmayr and Martin Pollack. Such a report shows the experience of loneliness and helplessness of the Ukrainian, Vasil Borsuk, against the resettlement campaign called “Vistula”. The next part of the article presents a historical outline of the Polish-Ukrainian conflict in the Bieszczady Mountains as well as the aspects of characters’ life resulting from this conflict which make up the loneliness experienced by them. In addition, attempts have been made to prove that wolves which are inseparably connected with the lives of characters, are not just a background to the events of their lives, but constitute a kind of allegory of their fate.
3
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Wolves in the City of Domesticated Women: The Queer Wild of Olivia Rosenthal

100%
Szymonek P.
New Horizons in English Studies
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2021
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issue 6
EN
In 2009, in the city of Nantes, a pack of six wolves was released in a public park as part of Stéphane Thidet’s art installation. A book of short stories accompanied the event. One of the authors involved was Olivia Rosenthal, who then incorporated her story into the novel Que font les rennes après Noël? (2010), in which captive wolves are reintroduced to the city. In this post-natural environment, animals provide a semblance of the wilderness for residents, yet remain enclosed in an extended zoo designed by man – an act that domesticates both sides of the fence by  separating humans from wolves. Rosenthal’s protagonist is one of such captives. Her life and the lives of animals are presented in parallel narratives. She grows up in a strictly controlled environment, and social standards are imposed on her. In a semi-autobiographical vein, Rosenthal explores issues of queer and gender marginalization as well as emancipation. At the same time, she seeks to dismantle the binary oppositions that place animals, women, and non-heteronormative persons on the other side of the fence. Relying on queer ecofeminist theory developed by Greta Gaard (1997) as well as trans-species urban theory formulated by Jennifer Wolch (1998), this paper argues that we should challenge the hierarchical approach to human and non-human life, as it silences differences and denies voice, rights, and agency to women, non-heteronormative persons, and animals. Tracing inspirations behind Olivia Rosenthal’s novel, this paper also contemplates the ethics of using live animals in Stéphane Thidet’s La Meute (2009) as well as Mircea Cantor’s Deeparture (2005) – two art installations that place captive wolves in an artificial environment.
4
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Светителот – скротител на дивите ѕверови. По примерот на св. вмч. Мина Чудотворец

88%
Луческа Е.
Poznańskie Studia Slawistyczne
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2021
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issue 20
273-298
EN
The basic and main topic of this research paper is the cult of St. Martyr Mina, especially his ability to tame the wild beasts-the wolves. The starting point of this paper is publication, written by V. Popovska Korobar about the wall paintings from the XV century in the monastery church St. Petka in the village of Brajchino, region of Prespa in Macedonia. In this church the saint is portrayed with some fairly rare iconographic elements that out framed the usual monumental painting of that time – the saint is portrayed as a victorious handler of tamed wild beasts. Popovska Korobar supposes that this kind of interpretation is related with the saint’s life in the desert together with the wild animals, or with the description of the beast in the existing literature about her life in Egypt – the monster with a camel’s head, and she does not identify the species of the animals depicted on the wall of the church. According to our research, this type of iconography is created and based upon the hagiographic texts in combination with the folklore identity of St. Mina and according to that, we think that the wild beasts are tamed wolves.
5
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Howls in the Anthropocene: Between Wildness and Captivity of Wolves in the Memoirs of Lois Crisler and Teresa Martino

51%
Szymonek P.
Zoophilologica. Polish Journal of Animal Studies
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2022
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issue 1 (9)
1-18
PL
W artykule ukazano zmianę postrzegania wilka, jaka nastąpiła w Ameryce Północnej w latach 1950–1990, poprzez historie Lois Crisler i Teresy Martino – dwóch kobiet, które nawiązały bliskie relacje ze swoimi wilkami. Choć wilki Lois Crisler – Lady, Trigger, Alatna, Arctic, Barrow, Killik i Tundra – urodziły się dzikie, ich życie było zależne od ludzi. Natomiast Mckenzie, wilczyca urodzona w niewoli i wychowana przez Teresę Martino, została wypuszczona na wolność. Historie Crisler i Martino ukazują czas, w którym w Stanach Zjednoczonych nienawiść do wilków ustępowała publicznej ich akceptacji oraz podjęto pierwsze próby reintrodukcji tego gatunku po uprzednim niemal doszczętnym wytępieniu wilków na terenie USA.
RU
В статье, на примере историй Лоис Крайслер и Терезы Мартино – двух женщин, установивших близкие отношения со своими волками, – показан сдвиг в восприятии волков, произошедший в Северной Америке в период с 1950-х по 1990-е годы. Хотя волки Лоис Крайслер – Леди, Триггер, Алатна, Арктик, Барроу, Киллик и Тундра – родились дикими, они провели свою жизнь в неволе. В свою очередь, Маккензи, волчица, родившаяся в неволе и воспитанная Терезой Мартино, была выпущена обратно на волю. Их истории позволяют заглянуть в тот период времени, когда ненависть к волкам уступала место общественному признанию. Именно в это время реинтродукция волков стала рассматриваться как способ восстановления дикой природы после того, как эти хищники были почти полностью истреблены в США.
EN
The article shows the shift in perception of wolves that occurred in North America between the 1950s and 1990s through the stories of Lois Crisler and Teresa Martino-two women who developed a close relationship with their wolves. Although Lois Crisler’s wolves-Lady, Trigger, Alatna, Arctic, Barrow, Killik, and Tundra-were born wild, they spent their lives as captives. On the other hand, Mckenzie, a she-wolf born in captivity and raised by Teresa Martino, was released back to the wild. Their stories provide a glimpse into a period of time when hatred for wolves was giving way to public acceptance. It was during this time, too, that wolf reintroductions were considered as a way of rewilding the land after these predators have been almost completely exterminated in the United States.
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