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Roczniki Kulturoznawcze
|
2018
|
vol. 9
|
issue 3
51-66
PL
Artykuł bada możliwości interpretacyjne struktury Księgi Hioba jako struktury dramatu. Pokazuje, że niektóre pozorne paradoksy i sprzeczności mogą być rozumiane jako wewnętrzna logika dramatu. Pozorna niespójność Prologu i późniejszych twierdzeń Hioba może być zniwelowana, gdy uważnie prześledzi się ciąg przyczynowo-skutkowy oraz będzie się rozumieć wydarzenia jako dziejące się w ciągle aktualizowanej teraźniejszości. Podejście dramatyczne pozwala widzieć spotkanie Boga i Szatana jako nieudaną próbę poczynienia zakładu. Dramat jako pozbawiony wszechwiedzącego narratora pokazuje różnorodne postawy, bez bezpośredniego wskazania, która z nich jest najlepsza. Styl wypowiedzi głównego bohatera jest pełen paradoksów i wykluczających się nawzajem stwierdzeń. Może on być porównany ze współczesną techniką literacką strumienia świadomości. Punkt kulminacyjny dramatu pokazuje trwałą zmianę w postawie bohatera i prowadzi do zaskakujących zmian na poziomie metalingwistycznym.
EN
The article examines an interpretation possibility to read the structure of the Book of Job as a drama structure. It shows that some of the apparent paradoxes and contradictions in the text can be understood as an inner logic of a drama. The seeming incoherence of narrative Prolog and Job's later statements can be easily reconciled by following through the dramatic cause-effect sequences and seeing the events as happening in permanently changing present. The dramatic approach enables to see the meeting between God and Satan as an unsuccessfully attempt to make a bet. Deprived from omniscient narrator’s perspective, the drama shows various attitudes, without pointing directly which is the best one. Full of paradoxes and contradictory statements, the main hero’s style can be compared with a modern stream of consciousness. The culminating point of the drama shows a durable change in Jobs posture and leads to surprising changes on a metalinguistic level.
EN
This essay is a case study about linguistic mechanisms that affect an emigrant’s life. The research is based onthe autobiography by the Polish emigrant Eva Hoffman, analyzed with the use of theories She communicates poorly because the of new language corresponds with different from the native language, creating another IRUP. Eva starts to treat daily communication like a written, in the meaning used by Roland Barthes, which results in alienation. However, some linguistic principles such ast or inseparability of and do not affect her at all. She deepensher understanding of both her mother tongue and the new one by linguistic terms such as translation describe and belonging to. Her identity is an because she replacesher old home with a new. The old home remains a while an emigrant changesher onceptions connected with the words.
EN
The paper shows the chains of transformations that enabled a little-known art of papercutting to become a subject of ethnographic research in Israel. The main assumptions of the actor network-theory are presented. The meaning of “circulating reverence” and “chain of reference” is described. The crucial role of “representative guarantors” in the chain of reference on ethnographic research on Jewish papercut from the beginning of 20th century is shown. The role of the center of calculation is presented. The chain breakdown during the Second World War is described. The development of papercutting network in Israel as well as the strategies of Israeli ethnographers to continue the research are depicted. The new perspectives that ANT approach gives on ethnographic research on the papercutting in Israel are summarised.
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