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1

Oddawanie głosu pamięci. Uwagi na marginesie Wysokiego Zamku Stanisława Lema

100%
Kruszyńska A.
Prace Literackie
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2011
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vol. 51
117-135
EN
Wysoki Zamek by Stanisław Lem (The Lviv High Castle) is the return to the writer’s childhood. The memory is Lem’s guide and his method of analysis of the past. What the writer is most interested of, is the memory itself: its working, its existing and its power. Lem finds out that memory is the great and mysterious power, an autonomic power that is not under man’s control. The writer calls memory his enemy and his friend — to show that in this human capacity there is something that belongs to the human and at the same time that is against human because time is always against human. T h e c h i l d w h o h e w a s — is the second, equal subject of the book which is quite different of other memories because not facts, not events, even not relatives are important in this story. The experiences of time (and partially — of space) and the efforts to describe them are the right subject of Lem’s quasi-autobiographical story.
2
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Opowieść na odświeżenie ducha. Wokół refleksji C.S. Lewisa o baśniach

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Kruszyńska A.
Literatura i Kultura Popularna
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2012
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vol. 18
71-86
EN
Fairy stories are a unique type of literature. Their popularity among adult readers have been increasing for the last years — partially thanks to the fantasy. The subject of fairy stories is very interesting for Clive Staples Lewis — the writer who chooses fairy story for his Narnia books. He also tries to explain the phenomenon of fairy stories, to show the nature of this literary branch. Lewis shows that treating fairy stories as something only for children is a misunderstanding. Dealing with this opinion is for Lewis (who agrees with John Ronald Reuel Tolkien) a kind of mission. Fairy story — in the light of Lewis’ essays and his The Chronicles of Narnia — is like a spell for the refreshment of the spirit. The scene in The Voyage of the “Dawn Treader” when Lucy reads the spell from the magician’s book, when she feels happiness and enchantment, seems to be the key for understanding the role of fairy story. In this context the escapism have to be redefined: it is not bad, it is a positive experience.
3

Zagadnienie świadomości czasu w „Dyliżansie warszawskim” Marii Kuncewiczowej

100%
Kruszyńska A.
Pamiętnik Literacki
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2015
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vol. 106
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issue 2
109-122
PL
Artykuł poświęcony jest przedstawieniu zagadnienia świadomości czasu, charakteryzującego obserwacje miasta i jego mieszkańców w zbiorze szkiców Marii Kuncewiczowej "Dyliżans warszawski". Zbiór wydany został po raz pierwszy w 1935 roku. Po drugiej wojnie światowej ukazały się kolejne edycje, uzupełnione tekstami napisanymi z powojennej perspektywy utraty. Świadomość czasu (i związany z nią sposób postrzegania przeszłości) ma w "Dyliżansie warszawskim" dwojaki charakter: w zbiorze z 1935 roku skoncentrowana jest na przemianach „dziś” wobec „wczoraj”, natomiast w tomie powojennym – naznaczona została dojmującym odczuciem końca pewnej epoki. Refleksje dotyczące kresu świata przedwojennego korespondują z refleksjami wyrażonymi w innych utworach Kuncewiczowej: "Kluczach", "Fantomach", a także w wywiadach udzielonych przez pisarkę. Istotna jest w "Dyliżansie warszawskim" relacja pamięci prywatnej do pamięci wspólnej oraz dostrzeżenie roli rzeczy w zatrzymywaniu przeszłości.
EN
The article is devoted to time awareness which characterises city observations and its inhabitants in Maria Kuncewiczowa’s collection of sketches "Dyliżans warszawski" ("Warsaw Stage Coach"). The collection was first published in 1935, and after the Second World War other editions followed, supplemented by texts written from the postwar perspective of loss. Time awareness and perception of the past connected with it in "Warsaw Stage Coach" is of double nature: in the 1935 edition it focuses on the changes “today” against “yesterday,” and in the postwar one it is marked by a feeling of an epoch's end. The reflections about the end of the prewar world correspond to those expressed in Kuncewiczowa’s other pieces, e.g. "Klucze" ("Keys"), "Fantomy" ("Phantoms"), and in interviews with her. Important in "Warsaw Stage Coach" is also the relation of private memory to common memory and the perception of the function of things in retaining the past.
4
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Tworzenie interaktywnych gier planszowych w edukacji językowej – przegląd narzędzi

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Kruszyńska A.
Homo Ludens
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2022
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issue 1(15)
97-114
EN
The article deals with the problem of transferring board games used in language education in classroom to distance learning. In the first part, we try to introduce the reader to the place of games and play in education, then we move on to the use of games specifically in teaching foreign languages. In the last part, we discuss six tools that teachers can use to create communication board games and help students master selected lexical or grammatical structures.
PL
Artykuł porusza problem przeniesienia gier planszowych wykorzystywanych w edukacji językowej na zajęciach stacjonarnych do nauczania zdalnego. W pierwszej części staramy się przedstawić czytelnikowi miejsce gier i zabaw w edukacji, następnie przechodzimy do wykorzystania gier ściśle w nauczaniu języków obcych. W ostatniej części omawiamy sześć narzędzi, które nauczyciele mogą wykorzystać do stworzenia gier planszo-wych ćwiczących komunikację oraz biegłość w używaniu wybranych struktur leksykalnych lub gramatycznych.
5
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Oczekiwanie na powrót przeszłości. Szkic na podstawie wybranych opowiadań Adolfa Rudnickiego

100%
Kruszyńska A.
Świat Tekstów. Rocznik Słupski
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2012
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issue 10
89-102
EN
Among Adolf Rudnicki’s stories there is a group of texts dedicated to the phenomenon of the waiting – not for the future, but for the past. The time of waiting seems to be full of es-sence in Rudnicki’s texts. It is not empty and boring, it is not a pause between events but it is an important event itself. Charactres (and the narrator sometimes) live in a state of waiting thanks to their memory that brings back past moments, pictures and feelings. Moreover – the memory modifies them. Rudnicki observes and analyses the backward journeys and interprets their senses: yearn-ing for the childhood and youth (Mały Grün, Wiosenny śnieg), creating the alternative past (Narzeczony Beaty), the possibility of the mystical new beginning of the human history (Morze).
6
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Literatura popularna a kwestie społeczne. Przykład twórczości Tadeusza Dołęgi-Mostowicza

100%
Kruszyńska A.
Literatura i Kultura Popularna
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2015
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vol. 21
23-41
EN
The subject of social problems in popular culture and literature is not very widely discussed by contemporary Polish researchers. It has been treated for along time as one of the symptoms of the past political system. Western researchers have a different view of the phenomenon of socials aspects in popular culture; they write about the links between crime, poverty, homelessness, unemployment and the texts of popular culture that are akind of mirror reflecting thereal world. Sociology and psychology are the disciplines that support the researches in literature, i.e.: K. Sternheimer, Connecting Social Problems and Popular Culture: Why Media Is Not the Answer, Westview, 2013, p. 3. „Sociology of Crime, Law and Deviance” series, vol. 14 — Popular Culture, Crime and Social Control, red. M. Deflem, Greenwich (Connecticut) 2010. Marginal Conventions: Popular Culture, Mass Media, and Social Deviance, ed. by Clinton Sanders, Bowling Green (Ohio) 1990. Polish researchers writing about the novels by Tadeusz Dołęga-Mostowicz often notice — even if they do not concentrate on this subject — that characters in these novels are deeply immersed in their social environment. The characters created by Mostowicz do not exist in isolation, without their social background. What the writer is most interested in is the social change in the life of a character. The change should be understood as both promotion and degradation. A character in the way between the different worlds is very characteristic of Dołęga-Mostowicz. The writer’s opinion about the Polish social phenomena is negative and pessimistic: high and low classes live in different, closed worlds. Their borders are carefully protected against the incomers from lower worlds because there is not enough room for everyone. Hence the tragic tone of the stories by Mostowicz. Another problem in the novels by the author of Profesor Wilczur are the results of a social change. Mostowicz shows that the promotion is not for the honest and well educated; the promotion happens to those who are brutal and who find naïve people around themselves. The opinion of Józef Rurawski that Mostowicz let his readers believe in the moral order seems to be asimplification; the key of social aspects proves that Nikodem Dyzma, anobody, wins and Dr Murek, a lawyer, loses. Interesting features of Mostowicz’s poetics are the methods of describing Warsaw as an organism and of differentiating the languages of characters belonging to different social classes.
7
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Działania promujące Region Lubelski – Lubelskie. Smakuj Życie!

63%
Kruszyńska A., Bojarska A.
Zarządzanie w Kulturze
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2014
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vol. 15
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issue 2
PL
Promotional actions of Lublin Voivodeship – Lubelskie. Taste Life!The aim of the article is to describe the forms of promotional activities undertaken and realized by the Strategy of the Lublin Voivodeship Brand – Lubelskie. Taste Life!. A research was done in order to compare the assumptions of local education with the ideas included in the Strategy, which is bound with the development of the Voivodeship of Lublin. The work written in 2008 by the Department of Promotion and Tourism of the Marshal’s Office – “The Strategy of the Lublin Voivodeship  Brand – Building Brand Project for 2008-2020” was submitted to a  detailed analysis. The methods of document analysis and survey were used in researching the promotional forms included in the Strategy. The main vision of the brand was defined as Lublin EKOPOLIS expressed by a logo and the slogan: “Lubelskie. Taste Life!” The aims regarding the spread of knowledge about the region included in the Strategy are realized by advertisement campaigns and numerous cultural festivals. As a result, the Voivodeship of Lublin has probably become better known and perceived by Polish residents of big cities as well as by the Lublinians themselves. Perhaps the strategy  has caused an increase in the awareness and civil self-consciousness of the local society regarding to history, culture and tourist attractions of the region and it has led them to deepen their personal identification with the region as well as  openness to other cultures.
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