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Onomastica
|
2017
|
vol. 61
|
issue 2
335-342
EN
Polish exonyms from the Baltic countries are morphologically and phonetically adapted from earlier Lithuanian, Latvian and Estonian names. They were often adapted from intermediate German or Russian versions. A German toponymic element is rather prominent, especially in the current Latvian territory, where there were once many German settlements. It has left a linguistic imprint both in older (16th–18th c.) Latvian versions of place names, and in Polish exonyms (since Latvia’s independence, official Latvian place names are purely Latvian in form). Place names adapted from the German language do not differ from other names adapted to Polish territory, as shown by the appropriation of the German suffix -burg as -bork. The cited data shows that Lithuanian place names were morphologically adapted to fit Polish inflexion. Phonetically, the most noticeable change is the replacement of the Lithuanian letter a with the Polish letter o, as well as the omission of the end letter s in the names Kaũnas and Kriãvas. It is noteworthy that after this change occurred in the name Kaũnas, it came to be perceived as a name with the suffix -no, common in Polish toponyms. The same goes for the replacement of the letter a by the letter o in the name Wilno. Another example of changes made during name creation can be seen in the name Derpt in Estonian territory, which was extended with the suffix -sko: Derpsko/Derbsko. Intermediate Russian forms can clearly be seen in the adaptation process of the place names Merecz (Lit. Merkys), and Wiłkomierz (Rus. Wołkomir, Lit. Wilkmergė). The emergence of the Old Ruthenian name Kieś of Latvian origin alongside the German name Wenden (in Latvian territory) is a completely isolated circumstance. Other specifics on the phonetical changes that occur during the adaptation of Lithuanian place names into Polish are discussed in a text by J. Otrębski, who argues that they involve the adjustment of Lithuanian vocalisms to Polish vowels.
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Odporność nornicy rudej na boreliozę

71%
PL
Nornica ruda jest leśnym gryzoniem stanowiącym główny rezerwuar bakterii z rodzaju Borrelia, wywołujących boreliozę. Jednocześnie wykształciła odporność na zakażenie bakteryjne przez utrwalenie się pewnych wariantów genu receptora błonowego TLR2 odpowiedzialnego za rozpoznanie patogenu i aktywację odpowiedzi immunologicznej. Różne warianty genu wyewoluowały w wyniku presji selekcyjnej spowodowanej przez krętki z rodzaju Borrelia. U nornic w Szwecji wykazano istnienie trzech odrębnych grup haplotypów w obrębie częściowej sekwencji (1173 pz) tego genu. Dwie wyodrębnione grupy haplotypów (c1 i c2) były bezpośrednio związane z odsetkiem zakażonych nornic. W zależności od posiadanych wariantów genów zakażenie wśród osobników wahała się od 16 do 50%. Ponadto wykazano, że sekwencja ta u nornicy rudej jest pod wpływem selekcji pozytywnej. Osobniki z taką adaptacją mogą uzyskać przewagę ewolucyjną w środowisku o dużym zagęszczeniu zakażonych krętkami z rodzaju Borrelia wektorów, głównie kleszczy.
EN
Bank vole is a highly adaptive forest species of rodent. It is known to be a reservoir of Borrelia sp. spirochetes, the etiological agent of Lyme disease. Bank vole also developed the adaptation in membrane Toll-like receptor 2 (TLR2) gene to avoid disease development. TLR2 is involved in pathogen recognition and initiation of immune response. In Swedish populations of bank vole three different groups of haplotypes of TLR2 gene partial sequence (1173 bp) were found. The frequencies of two of them (c1 and c2) were directly correlated with the incidence of Lyme disease in bank vole populations. Morbidity among vole populations varied from 16 to 50% and depended on gene variants. Higher resistance was found in populations, where c2 TLR2 haplotypes were present. Recent studies have shown that TLR2 sequence in bank vole is under positive selection. Individuals with adaptive variants (c2 group) may have had an evolutionary advantage in environments with high frequency of infected vectors (mainly ticks).
EN
This article discusses possibilities arising in the reception of visual arts by the visually impaired from the perspective of a cognitive psychologist and an educator working in a gallery of contemporary art. It turns out that sight is not critical for learning about art. When including people with visual impairments in this area of human life, it is best to start with contemporary art – partly because works of contemporary artists frequently engage multiple senses. The authors also address the issue of art adaptation and present challenges and solutions in the process of adapting works of art to the needs of people with visual impairments. The latter are a highly diversified group with different histories and degrees of vision loss, as well as personalities and intelligence. As a result, educators must consider the cognitive abilities and limitations of the visually impaired art users to ensure effective communication and access to works of art. The development of inclusive communication requires systematic work with such people and with specialists in various fields, particularly psychologists and typhlo-pedagogues. Their cooperation may contribute to a greater understanding of the world of art by people with visual impairments, while improving their social competences and visual literacy.
EN
The story of the Moor who takes a cruel revenge on his master seems to notably express a human’s preference for bloody “fait divers”. It has been constantly quoted and adapted since the 10th century, serving as an “exemplum” which allows the authors of different nationalities to reflect on the contemporary events. The narrative structure is subjected to several modifications; however, it always contains a significant number of brutal aspects related to the act of vengeance. In fact, the force of precise and violent description correlates with the exhortation, characteristic of most of the works in question. We can observe simultaneously a certain evolution of story’s interpretation that the authors impose on the readers: being at first a part of a chronicle and collection of “exempla”, it gains a moral character in the late Middle Ages, to become finally a source of the political reflection which is particularly evident in 17th century France. All those factors, as well as the authors’ choice of literary genres, help to represent the social, moral, religious and ideological reality of the period of which the slavery is an integral part.
PL
Historia o Maurze dokonującym okrutnej zemsty na swoim panu stanowi szczególny wyraz ludzkiego upodobania do krwawego „fait divers”. Począwszy od X wieku, jest ona wielokrotnie przytaczana i adaptowana, służąc autorom różnych narodowości jako „exemplum” pozwalające snuć rozważania na temat współczesnych im wydarzeń. Struktura narracyjna ulega oczywiście w ciągu wieków modyfikacjom, nie rezygnując jednakże nigdy z brutalnych aspektów sceny zemsty. Stopień precyzji i drastyczności opisu koreluje wręcz z parenetycznym charakterem dzieł. Równocześnie zaobserwować można swoistą ewolucję interpretacji, jaką twórcy nadają sukcesywnie wykorzystywanej przez siebie opowieści: wchodząc początkowo w skład kroniki i zbiorów exemplów, uzyskuje ona pod koniec Średniowiecza wydźwięk moralny, aby stać się w końcu źródłem refleksji czysto politycznej, co widoczne jest zwłaszcza w siedemnastowiecznej Francji. Wszystkie te czynniki, włącznie z doborem odpowiednich gatunków literackich, pozwalają autorom odzwierciedlić realia ówczesnych epok, których nieodłączną część stanowi niewolnictwo.
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