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El piano o la dignidad en la pobreza

100%
Ferretti S.
Annales Neophilologiarum
|
2015
|
issue 9
217-227
EN
In this paper we will examine various types of narrative techniques in the short story medium, as well as examples of the literary techniques relevant to style, plot, and perspective/point of view. Carmen Laforet’s narrative techniques provide deeper meaning for the reader and help the reader use imagination to visualize situations. Literary elements in narratives include such things as the setting, plot, theme, style or structure, characters, and perspective, or voice of the story, since literary techniques are best understood in the context of one of these elements. Common techniques relevant to plot, which is the sequence of events that make up a narrative, include backstory, flashback (analepsis), flash-forward (prolepsis). Common techniques relevant to narrative perspective, or who is telling the story, include first person, second person, third person, and third-person omniscient. The aim of this article is to examine the backstory that is used when the author, Carmen Laforet, feels it is important for the reader to know something that has happened prior to the actual events described in the short novel El piano. We will also examine the many Flashback used when the narrator or the main character takes the story back in time, and the events go back and forth between the past and the present. And so the Flash-forward, when the writer allows the reader to see future events, will be studied and analysed.
PL
Artykuł przedstawia wyniki badań nad technikami narracyjnymi istotnymi dla stylu, fabuły i punku widzenia narratora w nowelach Carmen Laforet oraz prezentuje ich przykłady. Pozwalają one Czytelnikom dostrzec głębsze znaczenie tekstu Carmen Laforet oraz pomagają w jego wizualizacji. Elementy literackie w narracji, poddane analizie i interpretacji w artykule, obejmują: fabułę nowel, ich tematykę, styl, strukturę świata przedstawionego oraz perspektywę narracyjną i jej ideologiczną wymowę. Techniki szczególnie istotne dla budowy fabuły i świata przedstawionego nowel Carmen Laforet to: retrospekcja, analepsa oraz prolepsa, obecne w opowiadaniu kształtowanym przez narratora w pierwszej, drugiej i trzeciej osobie oraz narratora wszechwiedzącego w trzeciej osobie. Celem artykułu jest analiza i interpretacja zabiegu retrospekcji, który jest używany, gdy Carmen Laforet uznaje za istotne, aby czytelnik wiedział, co wydarzyło się przed wydarzeniami opisywanymi w noweli El Piano. Artykuł przedstawia rownież wyniki badań nad retrospekcją stosowaną w sytuacjach, gdy autor i główna postać noweli zmieniają perpektywę czasową w swoich opowiadaniach, oscylując między teraźniejszością a teraźniejszością, a zarazem autor ujawnia Czytelnikom przyszły rozwój opisywanych wydarzeń.
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Aleksander Dubiński (1924–2002) – uczony, nauczyciel, przewodnik

58%
Cichocki D.
Almanach Karaimski
|
2014
|
vol. 3
121-124
EN
Dr Aleksander Dubiński was my first teacher of Turkish grammar. His research encompassed various fields of Turkology – from linguistics to religion. In this short essay I have tried to present his academic work from the perspective of his students’ education and his influence on the development of Polish Turkology.
3
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... und wenn die Sprache einmal gebührend abgegrenzt wird?

44%
Hoskovec T.
Linguistische Treffen in Wrocław
|
2019
|
issue 15
101–114
DE
Die gegenwärtige Manie, stets neue Zweige der Sprachwissenschaft zu erdenken, hinter der am öftesten lauter vergebliche Hoffnungen stecken, eine Forschungsstelle gegründet zu erhalten, verhindert die Sprachwissenschaftler am Anerkennen, dass ihre Wissenschaft seit zweihundert Jahren (d. h. seit Wilhelm von Humboldt, aber nicht früher) einen klar abgegrenzten Gegenstand, und seit einhundert Jahren (d. h. seit Ferdinand de Saussure) éine adäquat anzuwendende Methode hat, worauf die Linguistik als eine und untrennbare gebaut werden soll. Die einzige empirische Gegebenheit der Sprachforschung, die mit dem Forschungsobjekt nie verwechselt werden darf, sind die Sprechhandlungen, die immer als konkrete sozial genormte und kulturell-historisch verankerte Ereignisse sprachlicher Kommunikation betrachtet werden müssen. Der eigentliche Gegenstand der Linguistik, also die Sprache selbst, ist dann die Potentialität solcher Sprechhandlungen, welche Potentialität zweierlei, wechselseitig komplementär aufzufassen ist: als abstraktes System und als gesellschaftliche Institution. Das System sowie die Institution „Sprache“ sind letzten Endes komplexe Strukturen von sozialen Normen. Die grundsätzliche Einheit, mit der die Sprache wissenschaftlich beschrieben und dargelegt werden soll, ist das Saussure’sche Zeichen, dessen Tragweite und adäquate Anwendung neu durchdacht werden müssen. Als Plattform dazu dienen nun auch die Prager Thesen 2016.
EN
The nowadays trendy hunt for increasingly new, more and more unexpected domains of linguistic research is a run from acknowledging that linguistics has one unique object: language communication, conceived of as a particular cultural- historical event that is subject to social norms; and one fascinating goal: to explain how language communication works in an impersonal way, so that members of a given cultural- historical community are able to understand one another. Linguistics is surprisingly young a science, and still more surprisingly, it can disappear as science from one day to the next, so that academic life will not even notice: there will be departments of linguistics, but no linguistics any more. Linguistics was inconceivable until, two hundred years ago, Wilhelm von Humboldt consummated the Kantian philosophical revolution by stating that thought does not exist except within a language, and through language communication. Linguistics is highly endangered now by a kind of non-reflected Aristotelianism that is, ingenuously enough, still accepted in sciences as common sense and theory-free thinking. Since Humboldt, linguistics has been endowed with a tool appropriate to its tasks: with the bifacial language sign, which is usually ascribed to Ferdinand de Saussure; since Saussure, linguistics has been set to proceed in a consciously semiological way. The Prague Linguistic Circle, which has been working on those issues for more than ninety years, proposes itself as a platform for discussing the current subjects and procedures of contemporary linguistic research aiming at the future.
4
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L’image de la France et des français dans l’histoire et la culture Polonaise dans la première partie du XIXe siècle

37%
Krawczykowski A.
Prace Polonistyczne
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2015
|
vol. LXX
157-176
EN
This master thesis focuses on the vision the Poles had of France and French folk from 1812 and 1864. As seen in the work, those two dates coincide with landmarks in Polish history. The conclusion shows that stereotypes are numerous and very often contradictory, yet, it is obvious that France and French are occupying a significant place in polish literary life at that time. The study includes text analysis (mostly in Polish), contemporary testimonies, as well as few pictures analysis. In a first part, Poland between French influence and interference, we will see what images of France and French, the Poles built on the basis of linguistic borrowings and the adoption of a certain style of life « à la française ». The second part, Napoléon I in Polish imaginary: « Prometeusz czy Atylla ? » deals with the perception the Poles have of Bonaparte, probably the most famous and emblematic French personality at that time. The third part, the image of France and French seen through the Polish emigration (Wielka Emigracja) is about the common destiny of the Polish and the French nation throughout the XIXth century.
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