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1

Varvid, arvud, kujundid. Esivanemate maailmapildist

100%
Ernits E., Sarv M., Tedre U., Koiv M., Lougas V., Vint T., Viires A., Stoor U., Eelsalu H.
Mäetagused
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2015
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vol. 61
69-80
EN
Writing is a discussion held by Ülo Tedre, Enn Ernits, Mikk Sarv, Madis Kõiv, Vello Lõugas, Tõnis Vint, Ants Viires, Ülo Stöör, and Heino Eelsalu about colours, numbers, and shapes in our ancestors’ worldview.
2

Educational Possibilities of the Project Colour Visualization of Music

88%
Klemenc B., Ciuha P., Solina F.
Organizacija
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2011
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vol. 44
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issue 3
67-75
EN
We propose a system of colour visualization of music based on a system of colour signs, which are connected to musical tones. Tones, which are in harmonic relationships, are represented by related colours. First, we outline the foundations on which the system of colour signs is based - the mathematical model of harmony. We discuss several possibilities of visual representation of expressive elements of music - melody, composition, rhythm and harmony. These relationships enabled us to develop a computer program that employs these elements for visualization. The program mimics human perception in which the parts are determined by the perception of the whole. Furthermore, the program enables the development of tools that can enhance music understanding during listening or performing. Music performance can acquire a new quality with the use of interactive coloured musical instruments, which by using colours show the performer different possibilities for forming musical harmonies and thereby change the composing of music into a game and attractive colour-aural journey. Here we stumble upon a challenge for educational science and methodology: how to use such upcoming multimedia tools. These tools would bring the processes of learning and playing a game closer together since playing games is a child's most natural form of functioning. Furthermore, in the area of artistic creation we can once again establish a balance between our logical and intuitive nature.
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Über blaue Briefe, schwarze Kunst, niebiescy chłopcy und czarna śmierć – zu einigen semantischen Besonderheiten im Bereich der Farbphraseologismen im deutsch-polnischen und polnisch-deutschen Vergleich (am lexikografischen Material)

88%
Szczęk J.
Colloquia Germanica Stetinensia
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2013
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issue 22
281-300
EN
The phraseology of colours is a significant sphere within the diction of Polish and German languages. This results from the fact that colours exist as an inseparable element of human reality. However, the conceptualisation of the names of colours depends on a given language society. The fact is reflected in the phraseological resources of a language. The material for the analysis are the indicated collocations, where the names of colours often gain additional meanings which go beyond the dictionary denotations. The paper describes the special semantic features of the names of colours in collocations: polysemy, translator’s false friends.
PL
Frazeologia kolorów stanowi zauważalną grupę w leksyce języka niemieckiego i polskiego. Wynika to z faktu, iż kolory stanowią nieodłączny element otaczającej nas rzeczywistości. Jednakże konceptualizacja nazw kolorów jest uzależniona od danej społeczności językowej. Fakt ten znajduje odzwierciedlenie w zasobie frazeologicznym danego języka. Przedmiotem analizy są wskazane związki frazeologiczne, w których nazwy barw zyskują dodatkowe znaczenia, wychodzące często poza znaczenia słownikowe. W artykule omówiono szczególne cechy semantyczne nazw barw w użyciu frazeologicznym: polisemia, fałszywi przyjaciele tłumacza.
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Funkcje barw w językowej kreacji świata flory w "Dolinie Issy" Czesława Miłosza

75%
Słoboda J.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2014
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vol. 13
229-243
EN
In the descriptions of nature dominates two semantic categories of the flora’s descriptions. The first one involves forests and the second: gardens and meadows. The most frequently used colours in the linguistic creation of the world of flora are: green, yellow, gold and red. The less frequently are: white, purple and blue. In the presented world the descriptions of the flora have a poetic value since they gather realistic picture of the nature expressed with the use of the poetic language. The indicated workings of the folra’s world description in Dolina Issy prove the impressive technique of Czesław Miłosz.
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„Biały jak paulin”, „czarny jak miód prastary” – o konkretyzacji prototypowej barwy białej i czarnej w historii języka polskiego

75%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2009
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vol. 8
47-58
EN
The article describes conceptual patterns for blackness and whiteness that were formed as the polish language evolved. The author analyzes constructions, which can be found in the early lexicographic works. She also presents us with stabilizing tendencies, the gain of formation and describes primary – being the essence of the meaning of the colour – and secondary prototype references. Additionally material taken from contemporary vocabularies, providing for comparisons – prototypes is being presented.
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Barwy w liryce Fiodora Glinki

75%
Lis-Czapiga A.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2014
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vol. 13
115-125
EN
The article discusses functions of colours in the poetry of Feodor Glinka – 19th century Russian poet. The colour range of his poetry is filled with chromatic and achromatic colours mainly. Not only clear colours but also their shades have been analysed in the present survey. Red and blue appear most frequently in Glinka’s poetry, yellow, white and black coming next, and green as the least frequent. High tones predominate in the poetry, the colours are usually intense, rich and vivid. Their symbolic function is usually to link with the culture and archetypes. Rich colours help to create vividness, build atmosphere, display informative, expressive and evaluative functions. With the help of linguistic means of expression the author imitates the techniques characteristic for painting, what confirms his high poetic artistry.
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Nabokovowski sposób dotykania rzeczywistości: gra światła i barw w opowiadaniu "Detale zachodu słońca"

75%
Ginter A.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2015
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vol. 14
83-91
EN
The paper aims at presenting the way in which Vladimir Nabokov uses colours and light while creating different layers of reality in his literary works on the example of the short story entitled Details of a Sunset. As it is shown in the article, colours in the text convey not only the information about the visual effects but also some information referred to the protagonists and the plot. For instance, in "Details of a Sunset" the colours of green and ginger used with their symbolic meaning for Clare describe her personality and attitude toward her fiancé. What is, however, more important colours in the text make it possible for the reader to recognise two different realities that determine understanding of the title as well as the whole text.
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Kolory Afryki w powieści Henryka Sienkiewicza W pustyni i w puszczy. Część II: ludzie i ich wytwory

75%
Borejszo M.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
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2015
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vol. 22
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issue 2
9-35
PL
The object of studies presented in the article are the designations of colours documented in the novel by Henryk Sienkiewicz entitled In Desert and Wilderness. Against all appearances, it is not the issue treated only marginally by the writer, which may be a little surprising if we take into account the character of the book (an adventure novel for youth, focused basically on the lively, attracting attention plot and not on extensive author’s narration). The author of the article distinguishes more than a dozen of groups of realities especially often characterised from the point of view of their colours. Primarily, these are the descriptions concerning the world of African flora and fauna – exotic for the Polish reader. As it results from the conducted studies, the attention of Sienkiewicz is mainly drawn to the colours of animals, especially birds. It is likely that the writer’s predilection for hunting played here a decisive role. African flora is basically presented in the form of colourful spots against the background of greenery, and not by detailed descriptions of the appearance of individual representatives of a given species. Additionally, the writer’s interest is aroused by changes of colours of the sky and the whole surrounding world depending on the time of day, atmospheric conditions, light intensity (mainly sunrises and sunsets). In the descriptions of people, the narrator pays attention to the differences in the skin colour of the Europeans, Blacks and Arabs. Sienkiewicz devoted less attention to the colours of clothes or ornaments worn by African residents. The lexis used in the novel, belonging to the field of colours, although semantic­ally quite rich and formally varied, is not very original. There dominate here typical adjectival designations used in their basic meanings, instead of inventive comparisons or metaphors, e.g., biały (white), czarny (black), czerwony (red), zielony (green), żółty (yellow), niebieski (blue), różowy (pink), szary (grey), srebrny (silver), złoty (gold). In the studied novel, the field of red has been documented with most examples (e.g., czerwonoskóry (red-skinned), czerwony (red), koralowy (coral), krwawy (bloody), ognisty (fiery), purpurowy (purple), wiśniowy (cherry), zaczerwieniony (reddened); czerwono (red), pąsowo (bright red), wiśniowo (cherry); purpura (purple), rubin (ruby); czerwienić się (to become red), zaczerwienić się (to redden)), and further on: the field of white (for example: białawy (whitish), biały (white), pobladły (pale), śnieżny (snowy), wybielony (whitened), zbielały (bleached); biało (white); pobielenie (whitening); blednąć (to become pale), bielić się (to grow white), pobieleć (to become white), poblednąć (to grow pale), wybieleć (to grow white), zabielić się (to paint white), zblednąć (to turn pale)), the field of blue (for example: błękitnawy (bluish), błękitny (azure), granatowy (navy blue), jasnoniebieski (light blue), niebieski (blue), sinawy (glaucous), siny (livid), siwobłękitny (grey blue); błękitno (blue); błękit (azure); sinieć (to become livid)), the field of green (for example: ciemnozielony (dark green), jasnozielony (bright green), koloru morskiej wody (the colour of sea-water), szarozielony (grey-green), zielonawy (greenish), zielony (green); zielonawo (greeny), zielono (green); zieloność (greenness)), and also the field of black (for example: barwy węgla (the colour of coal), czarny (black), poczerniały (blackened), sczerniały (turned black); czarno (black); czernieć (to grow black), czernić się (to go black), sczernieć (to grow black)), the field of grey (for example: płowoszary (tan-grey), popielaty (ash-coloured), stalowy (steel-like), szary (grey), szyfrowy (slate), zielonoszary (green-grey); poszarzeć (to become grey)), the field of brown (for example: brunatny (tawny), kasztanowy (auburn), opalony (suntanned), rudy (ginger), smagły; opalać się (to bronze), opalić się (to get a suntan)), the field of yellow (for example: cynamonowy (cinnamon), płowożółty (buff-yellow), płowy (buff), woskowy (wax), żółty (yellow)), the field of silver (for example: srebrny (silver), srebrzysty (silvery); srebrno (silver); posrebrzeć (to silver-plate), rozsrebrzyć (to become silvery)), the field of pink (for example: różany, różowy; różowo; różowieć), the field of gold (for example: złoty (golden); złoto (gold); złocić się (to show golden)) and the field of violet (for example: lila (lilac), liliowy (lilac); ametyst (amethyst)). In the field of varied colours we can find, among others, such designations as: pręgowany (striped), pstry (spotted), siedmiobarwny (seven-coloured), różnobarwny (many-coloured), różnokolorowy (colourfull), drgać odblaskami pawich piór (tremble with reflections of peacock feathers), mienić się jak opale (to shimmer like opals), mienić się jak tęcza (to shimmer like a rainbow), mienić się i grać wszelkimi barwami jak wielkie kwiaty (to glitter and play with all colours like huge flowers), przybrać barwę muszli perłowej (to assume the colour of a pearl conch). Among the general descriptions of colours we can enumerate the adjective kolorowy (colourful) and the expression jaskrawo upierzony (brightly feathered), which can signify both mono-, as well as multi- colours of the realities being described. In the studied novel, there are quite numerous examples of words from the field signalling different intensity of light, from full brightness to absolute darkness, for instance: blady (pale), blado (pale), blask (radiance), blednąć (to grow pale), jasny (bright), rozjaśnić (to light up), światło (light), ciemny (dark), ciemno (dark), ciemność/ciemność tak gęsta, że prawie namacalna (darkness/darkness so thick as almost touchable), ćma (moth), mrok (dimness), pociemnieć (to make dark), ściemnić się (to become dark). Two adjectives designating colours manifest the greatest frequency, i.e., biały (white) (106 occurrences in the text) and czarny (black) (58 occurrences), and subsequently – according to the frequency of use – the adjectives: czerwony – red (24), różowy – pink (16), zielony – green (13), żółty – yellow (10), płowy – buff (9), szary – grey (9), srebrny – silver (7), niebieski – blue (6), złoty – gold (6), białawy – whitish (5), błękitny – blue (5), purpurowy – purple (5), popielaty – ash-coloured (4). Additionally, attention should be brought to the designations of colours in less ­typical forms, e.g., comparisons, metonymy, metaphor. Among the comparative expressions we can find the designations frequently used in Polish, such as: biały jak kreda/mleko/papier/śnieg (as white as chalk/milk/paper/snow), czarny jak aksamit/kir/noc (as black as velvet/pall/night ), czarno jak w piwnicy (as black as in the cellar), czerwony jak krew (as red as blood), szary jak mysz (as grey as a mouse). Among the designations of colours which are less typical than the ones mentioned above there are collocations such as: drgać odblaskami pawich piór (tremble with reflections of peacock feathers), mieć barwę czystego ametystu (to have the colour of pure amethist), przybrać barwę muszli perłowej (to assume the colour of a pearl conch), mienić się jak opale (to shimmer like opals), mienić się jak tęcza (to shimmer like a rainbow). There is definitely more information about the colours of the world depicted in the studied novel by Sienkiewicz than in The Trilogy written by the same author, especially when we take into account the differences in length of the analysed writings. In the novel In Desert and Wilderness there dominate the descriptions of colours of nature-which is exotic for Polish readers-rather than people, which results, among others, in greater frequency of designations from the colour field ascribed to African flora (green and pink) if we compare it with The Trilogy.
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Un racconto per l’infanzia fatto di colori: Isabella e l’ombra di Antonio Tabucchi

75%
Bedin C.
Italica Wratislaviensia
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2017
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issue 8.1
29-47
EN
Antonio Tabucchi is one of the most representative authors of contemporary Italian literature. His output includes a short story for children entitled Isabella e l’ombra, which was illustrated by Isabella Staino and to whom the story is dedicated. Instead of relying on words to write short texts at school, the main character, a little girl named Isabella, uses colours and explains their chromatic compositions to the teacher. Undoubtedly, the writer’s pedagogical intention behind this story is for young readers to understand that literary expression does not occur only by writing but also through images and colours that can transmit as many emotions as written texts do. Moreover, the text, which can be considered a Bildungsroman for children, touches upon some topics visible in other novels and stories by Tabucchi. This paper aims to analyse the way in which Tabucchi shares some of his existential ideas with a non-adult audience, particularly regarding the relationship between various forms of language, the symbolism of colours, the power of visual communication, and the importance of such feelings as sadness, affection, and generosity.
IT
Antonio Tabucchi è uno degli scrittori più rappresentativi della letteratura italiana contemporanea. Nella sua vasta produzione letteraria trova posto anche un breve racconto per l’infanzia, Isabella e l’ombra, accompagnato da una serie di illustrazioni eseguite dalla pittrice Isabella Staino, a cui il racconto è dedicato. La protagonista, una bambina di nome Isabella, invece di usare le parole per scrivere i propri pensierini a scuola usa i colori, in tutte le loro diverse tonalità, e spiega le sue composizioni cromatiche ad una maestra perplessa ed impressionata. È indubbio che con questo racconto lo scrittore intenda insegnare ai suoi piccoli lettori che l’espressione letteraria non avviene solamente attraverso la scrittura, ma può realizzarsi anche attraverso le immagini e i colori, i quali trasmettono emozioni quanto e forse più di un testo scritto. Inoltre il testo, che può essere definito un romanzo di formazione rivolto ai bambini, tocca tutte le tematiche dei grandi romanzi e racconti tabucchiani. In questo articolo si vuole analizzare il modo in cui Tabucchi intende trasmettere alcune delle sue idee esistenziali ad un pubblico non adulto, in particolar modo in relazione al rapporto tra le varie forme di linguaggio, alla simbologia dei colori, alla potenza della comunicazione visiva e all’importanza di alcuni sentimenti come la tristezza, l’affetto e la generosità.
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‘My Gaze as Sharp as a Pin / Penetrates the World’: The Colourful Dailiness in the Poetry of Zuzanna Ginczanka

75%
Król K.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
245-254
EN
The aim of the paper is to present preliminary research results on the sight-centrism of the poetry written by Zuzanna Ginczanka. The author of the article draws attention to a paradox: it is the sight that is favoured in Ginczanka’s poems, and sight is traditionally perceived as ‘masculine’, intellectual, as opposed to ‘feminine’ senses that are more focused on touch. One of the more important features of sight-centrism in Ginczanka’s works is the observation of hues which may be found in the world. The paper investigates whether colours in this poetry change after the author of Of Centaurus moves to Warsaw. The consistency of poetic imagery placing the human being in natural landscapes rather than the urban space forces the researcher to reflect on the affiliation of Ginczanka with the Skamander group.
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Barwy w twórczości Bolesława Prusa

63%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2014
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vol. 13
51-65
EN
The world of Bolesław Prus, both real and fictional, feature, was divided into two spaces: the first – hostile, alien, unloved, vast and unknown and the second – secure, kind, accepted, limited and frequently visited by the writer. He tolerated the former, because he had to, because it existed, because it was the immanent part of the plot of a literary work and it was difficult for the writer to escape from setting at least one of his works in the countryside; the latter was treated as his kingdom, he liked to be there, felt confident so it is not surprising that his characters were placed there most eagerly. The unfamiliar terrain to the writer is a world of vast territories, expanded both horizontally and vertically. The area which was friendly to Prus was bordered with the walls of the flat – real or created or extended down the streets of a town, especially Warsaw. The caesura between these worlds was at the same time a colour perception border line in the life and works of Bolesław Prus. This article tackles the notion of the differences in perceiving colours in both of the worlds.
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Pojmenování barev a jejich odstínů v Akademickém slovníku současné češtiny

63%
Lišková M., Pernicová H.
Časopis pro moderní filologii (Journal for Modern Philology)
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2015
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vol. 97
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issue 2
169-178
EN
The paper deals with processing the entries describing colours in the Academic Dictionary of Contemporary Czech (ASSČ), the priority being the explanation of basic meanings of primary colours and lexicalised colour shades. The definitions ought to include all semantic features, be clear and should reflect the present world and the experience of the user. Special attention is given to the explanations of adverbs and compound adjectives. The paper also follows the decision-making process leading to the list of entries within a given category, based on the frequency of the lemma in the SYN corpus, and discusses the problem of appropriate exemplification.
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Leksykalno-semantyczne wyznaczniki letnich pejzaży wiejskich w "Nocach i dniach" Marii Dąbrowskiej

63%
Słoboda J.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2015
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vol. 14
333-345
EN
This article contains the analysis of means of expression used by Maria Dąbrowska in creating the summer countryside lanscapes. In the descriptions of nature in summer Dąbrowska used: – colours characteristic for summer lanscapes, – lexis in lights and shadow, – lexis expressing the sounds and movement of the world of nature. The most frequently used colours in the linguistic creation of the world of nature in summer are: gold, yellow, light blue, green, red and white. These colours create such stylistic figures as: epithets, comparisons and methaphors. Colours and light effects give images of nature in summer a lot of plasticity and suggestive expressions. Lexis in sounds and movement adds them the dynamism. In the presented world the descriptions of the summer coutryside lanscapes have a poetic value since they gather realistic picture of the nature expressed with the wide range of poetic means of expression.
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Leksykalno-semantyczne wyznaczniki wiosennych pejzaży wiejskich w Nocach i dniach Marii Dąbrowskiej

63%
Słoboda J.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2016
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vol. 15
115-125
PL
Artykuł zawiera analizę leksykalno-semantycznych wyznaczników opisów wiosennych pejzaży wiejskich w Nocach i dniach Marii Dąbrowskiej oraz wskazuje na ich funkcje w tekście. Do stworzenia plastycznych opisów pejzaży pisarka zastosowała różnorodną paletę barw, które działając na zmysły odbiorcy, wzmagają wrażenia kolorystyczne oraz podkreślają piękno przyrody, wśród której żyją bohaterowie powieści. Najczęściej pojawia się nazwa barwy zielonej, która wzbogacana jest określeniami charakteryzującymi wiosenne ożywienie i świeżość w przyrodzie, opisującymi świat roślin rozświetlonych promieniami słońca. Rzadziej występują barwy: szara i niebieska. W opisach często pojawia się słownictwo z zakresu nazw światła i cienia, które oprócz funkcji informacyjnej, wyodrębniającej i identyfikującej kolorystycznie opisywane elementy, podkreśla nastrój, scenerię i dynamizm krajobrazu. Słownictwo przywołujące bogactwo dźwięków słyszanych w przyrodzie oraz użycie czasowników ruchu, ożywia i dynamizuje obrazy natury. Liczne personifikacje podkreślają związki łączące człowieka z przyrodą. Bohaterowie Nocy i dni są jej nierozłączną częścią.
EN
The article contains an analysis of semantic and lexical indicators of description of rural spring landscapes in Noce i dnie a novel written by Maria Dąbrowska, and it identifies their functions in the text. In order to create vivid descriptions of landscapes the writer used a palette of colours, which affect the senses of the audience and strengthen colour impression and underline the beauty of nature, which is the background for the protagonists. The most frequent is the colour of green, which is enriched with expressions that are typical of spring revival and freshness in nature and that describe the world of plants illuminated by sunrays. The colours of grey and blue are less frequent. In the descriptions quite often there appears some vocabulary referring to the names of light and shadow, which in addition to their informative functions that distinguish and indentify colours in the described elements emphasise the atmosphere, scenery and dynamics of the landscape. The vocabulary evoking the wealth of sounds that may be heard in nature and the use of verbs of movement revive and dynamise the picture of nature. The numerous personifications underline the relations between man and nature. The protagonists of Noce i dnie are its integral part.
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Językowa kreacja drogi w powieści Matka Ignacego Maciejowskiego (Sewera)

63%
Rutkowska J.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2017
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vol. 16
205-220
PL
W powieści Matka jawi się równolegle dwuwymiarowa kreacja drogi: w ujęciu fizycznym oraz w ujęciu metaforycznym. W kreacji drogi Ignacy Maciejowski wykorzystał kontrast: droga do miasta – droga zła, czarna, z demonami, trudna, męcząca, z zacierającym się celem, a droga do domu – do wsi, do sielanki, do swoich. Ważną rolę w obrazowaniu pokonywanej trasy odgrywają opisy przyrody, która stanowi uzupełnienie kreacji różnych etapów drogi, jak i oddziałuje na emocje, przeżycia i odczucia głównej bohaterki powieści. Elementem kreującym drogę w analizowanej powieści są także barwy. Pisarz wykorzystuje paletę – od ciemnej, czarnej do białej i jej odcieni, sporadycznie wykorzystując barwę niebieską, granatową, czerwoną, różową. Droga pokonywana przez matkę jest miejscem sakralnym, przestrzenią, którą można pokonać z Bożą pomocą.
EN
In the novel Matka a parallel, two-dimensional creation of a road can be observed – physical and metaphoric. In the creation of a road Maciejowski used the contrast between the road to the town – which is bad, black, demons-infested, difficult, tiresome, with blurring destination, and the road home – to the village, to the idyll, to one’s own folks. The descriptions of nature play a significant role in the imaging of the covered distance. They complement the creation of the different stages of the road, and affect the emotions, feelings, and experiences of the main character of the novel. The colours are also a factor used for creating a road in the Sewer’s novel. The writer uses a palette of colours – from a dark, black to white and it’s shadows, and occasionally blue, navy-blue, red and pink. A road covered by the mother is a sacred place, a space which can be travelled with the divine help.
16

Varvisonad ja varvisumbolid eesti moistatuste alaliikides

63%
Voolaid P.
Mäetagused
|
2016
|
vol. 64
69-98
EN
The article analyses colour names in the three most widely spread subgenres of Estonian riddles – classical or ordinary riddles, conondrums, and droodles – focusing on the specific features of each subgenre and their specific differences. The main questions concern the more frequent colour names by subgenres, their more general usage relations, and the use of colours in image creation. Classical riddles belong to a more archaic layer and are, by their nature, poetic descriptions of an object or a phenomenon, in which the image expresses mainly the appearance of the answer object, the facets perceived by senses. Colour names occur frequently in the image creation of riddles, serving as primary indicators in describing an object or a phenomenon and providing a hint at the answer. Classical riddles manifest the importance of colours in the semantic-lexical imagery of riddles (image stereotypes and form patterns), which can roughly be divided into two: 1. In texts with defined subjects, in which the image coincides with the syntactic subject of the descriptive sentence, the subject is often a zoological term, which is complemented by a colour (e.g. clichés such as grey/black/white ox; black pig and red piglets); yet, colour is also essential in human images (e.g. black man, red boy). 2. Texts with undefined subjects, in which the object to be guessed is presented indirectly by means of its activity, qualities, relations, places, time, etc., and colour names are applied in form stereotypes based on some kind of paradoxical differences or contradictions. Conondrums and droodles as more recent subgenres are oriented on humour; they both express cultural stereotypes and symbols by means of colours. As compared to the colour statistics of classical riddles, in conondrums the leading position is occupied by the subject-related term ‘blond’, which marks a fair-haired and fair-skinned person, and is caused by the multitude of jokes about dim-witted blondes that became popular in the second half of the 1990s. Colours play an important role in the absurd questions beginning in ‘What is…?’, as well as internationally known absurd series of elephant-questions, in which the opposition of two colour shades (light-dark, white-black) is widely spread as a humour-creating method. The colour image of the black-and-white droodles often contains the inducing of visual imagination and the occurrence of colour in both the question and answer. Text examples originate from internet databases Estonian Riddles (Krikmann & Krikmann 2012), Estonian Conondrums (Voolaid 2004), and Estonian Droodles (Voolaid 2002), based mainly on the manuscript material of the Estonian Folklore Archives as well as different publications and internet material.
17

Phenomenology, Science and Experience

63%
Toccafondi F.
Dialogue and Universalism
|
2015
|
issue 4
51-60
EN
Stating that experience is the testing ground for scientific theories is undoubtedly a sort of truism. In the case of the investigation of human perception, however, it is worth pinpointing and understanding exactly what kind of experience science must avail itself of. Cherishing and taking into account the lessons learned from Goethe’s Farben-lehre, Ewald Hering inaugurates a type of phenomenology which believed in the fertili-ty of the connection between the phenomenological description and the empirical inves-tigation. The direction indicated by Hering will be embraced by important authors of non-Husserlian phenomenology in the first three decades of the twentieth century: Carl Stumpf, Karl Bühler, the Gestaltpsychologie of Max Wertheimer, Wolfgang Köhler and Kurt Koffka, to name a few. This paper intends to show the interest and topicality of this approach.
18
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Różnice i podobieństwa w percepcji barw: czerwonej, białej, błękitnej u osób z dysfunkcją wzroku i widzących oraz wykorzystanie symboliki barw w audiodeskrypcji

63%
Jerzakowska B.
Ogrody Nauk i Sztuk
|
2014
|
issue 4
232-241
PL
Analizie poddano kolory: biały, czerwony, błękitny. Przedstawiono z czym kojarzą się one badanym.Na wykresach zilustrowano procentową częstotliwość występowania poszczególnych skojarzeń. Otrzymane skojarzenia uszeregowano, m.in. ze względu na symbolikę oraz abstrakcyjność skojarzenia. Ostatnią częścią badania było porównanie skojarzeń symbolicznych, które pojawiły się przy poszczególnych barwach z symboliką uwzględnioną w słownikach symboli. Badanie odniesiono do tekstów audiodeskrypcji (AD) i sprawdzono czy korzystają one z bogatej symboliki barw ukutej w tradycji i kulturze.
EN
This paper is about sign perception of colors for sighted and blind people. We selected three different colours: white, red and blue. Associations are presented which are given to each of respondents in both groups. We then checked how answers corresponded with symbolic meaning of the three colors known from literary, psychological and linguistic stereotypes. We also checked if white, red and blue matter symbolize meaning in audio description, which is a technique to describe art for blind people.
19
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Kolory Afryki w powieści Henryka Sienkiewicza W pustyni i w puszczy. Część I: świat przyrody

63%
Borejszo M.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
|
2015
|
vol. 22
|
issue 1
7-34
PL
The object of studies presented in the article are the designations of colours documented in the novel by Henryk Sienkiewicz entitled In Desert and Wilderness. Against all appearances, it is not the issue treated only marginally by the writer, which may be a little surprising if we take into account the character of the book (an adventure novel for youth, focused basically on the lively, attracting attention plot and not on extensive author’s narration). The author of the article distinguishes more than a dozen of groups of realities especially often characterised from the point of view of their colours.Primarily, these are the descriptions concerning the world of African flora and fauna – exotic for the Polish reader. As it results from the conducted studies, the attention of Sienkiewicz is mainly drawn to the colours of animals, especially birds. It is likely that the writer’s  predilection for hunting played here a decisive role. African flora is basically presented in the form of colourful spots against the background of greenery, and not by detailed descriptions of the appearance of individual representatives of a given species. Additionally, the writer’s interest is aroused by changes of colours of the sky and the whole surrounding world depending on the time of day, atmospheric conditions, light intensity (mainly sunrises and sunsets).
20
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Barwny splendor sakralnych wnętrz jezuickich w Cusco (Peru) w świetle osiemnastowiecznych inwentarzy

63%
Kubiak E.
Saeculum Christianum. Pismo Historyczne
|
2021
|
vol. Wydanie specjalne
|
issue 28
32-45
EN
The article presents eighteenth-century inventories as sources of knowledge about the details of the decoration of the Jesuit sacred interiors in Cusco. The author focuses on presenting the colors in the interiors of the church and chapels. In the first section, the author analyses the content of the inventories themselves and the denominations of colors, briefly describing the names, use and meaning of each color. In the second part of the study, the author discusses the colors of selected elements of the decoration, such as the tabernacles, antependia and costumes of sculptures in the altars. The problem was presented in the cultural context of the region, with both baroque and Andean aesthetics considered.
PL
W artykule zostały przedstawione osiemnastowieczne inwentarze jako źródła wiedzy na temat szczegółów wystroju jezuickich wnętrz sakralnych w Cusco. Autorka skupia się na zaprezentowaniu kolorystyki we wnętrzach kościoła i kaplic. W pierwszej części analizuje treść samych inwentarzy i denominacje kolorów, krótko charakteryzuje też same nazwy, użycie i znaczenie poszczególnych barwy. W drugiej części opracowania została opisana kolorystyka wybranych elementów wystroju, takich jak tabernakula, antependia oraz stroje rzeźb w ołtarzach. Problem został ukazany w kontekście kulturowym regionu, pod uwagę zostały wzięte zarówno elementy estetyki barokowej, jak i andyjskiej.
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