Search results

1

Obraz zaburzeń emocjonalnych w autonarracji K.R. Jamison

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Gawda B., Kosacka K.

Zagadnienia Rodzajów Literackich

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2017

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vol. 60

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issue 3 (123)

95-109

EN

The aim of this work is to reconstruct the picture of emotional disorders as revealed in Jamison’s self-narration. The starting point was the question whether self-narration can be a source of information about the patterns of experience of disorder. The self-narrations expressed in the book An Unquiet Mind have been analyzed. The picture of emotional disorders has been reconstructed including the course of depressive and manic episodes and their alternations. The Jamison’s personal description of the experience of disorder was a valuable record of the perception of her own and the world.

2

Wolność słowa vs. wolność religijna. Wybrane zagadnienia

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Biłgorajski A.

Studia Politologiczne

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2012

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vol. 23

95-120

EN

It seems that freedoms: freedom of speech and religious liberty, should be treated comprehensively and complementarily. Comprehensively – because complete fruition one of them implicates existing the other one. Complementarily – because the freedoms are interrelated/connected in such way that they could encourage/ support and limit each other. Obvious implication in this matter is frequent crossing of conflicts as well as connecting mentioned liberties (for example secular interests with sects interests, religious liberty with ideas concerning wounding of religious feelings; belief liberty with wounding of belief liberty through demonstration of opponents). On the one hand how the freedom of speech is pledge of secular state, on the other hand how the freedom of speech might be risk for it? I will try to answer this question, consisting in decisions of USA Supreme Court and European Court of Human Rights in Strasbourg.

3

Overview of the KTH rule system for musical performance

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Friberg A., Bresin R., Sundberg J.

Advances in Cognitive Psychology

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2006

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vol. 2

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issue 2-3

145-161

EN

The KTH rule system models performance principles used by musicians when performing a musical score, within the realm of Western classical, jazz and popular music. An overview is given of the major rules involving phrasing, micro-level timing, metrical patterns and grooves, articulation, tonal tension, intonation, ensemble timing, and performance noise. By using selections of rules and rule quantities, semantic descriptions such as emotional expressions can be modeled. A recent real-time implementation provides the means for controlling the expressive character of the music. The communicative purpose and meaning of the resulting performance variations are discussed as well as limitations and future improvements.

4

Funkcjonalizm w architekturze: od neolitu do wczesnego modernizmu

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Tarnowski J.

Estetyka i Krytyka

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2009

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issue 15-16

190-213

EN

In line with modernist historiography, functionalism was construed as the foundation of modern architecture. The exact meaning of the concept in the modernist theory of architecture, however, is unclear. If functionalism is to be understood, after Adler, Mies and Sullivan’s dictum that „form follows function,” as the outward expression of function in form and/or mere functionality, functionalism no longer appears to be restricted to modernism: functionalist buildings can be shown to have been erected in all ages from as far back as the Neolithic beginnings of architecture. The actual difference between modern and traditional architecture, therefore, is to be found not in the greater functionality of the former or in its clearer manifestation of function, but rather in form itself. Modern architecture is a radical move away from the formal tradition of classical architecture. (To be continued in Volume 18)

5

MUSIC AND MORALITY: Expression and Katharsis in Peter Tchaikovsky’s symphonies

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Szerszenowicz J.

Miscellanea Anthropologica et Sociologica

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2015

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vol. 16(3)

94-114

EN

The most fascinating task of aesthetics is to detect the hidden order of arts. As a matterof fact, the last three symphonies of Tchaikovsky received an enthusiastic reception becauseof their unusually strong expression and energy. So far, however, we know neitherwhy his previous symphonies had lacked such power, nor why each one of the last threeis so impressive. It seems that thanks to the psychoanalytical approach we can make itclear that the source of these qualities lies in the conflict between the composer’s homosexualpreferences and the moral norms of his time. The psychical tension between Idand Superego evoked the feeling of guilt which entailed the composer’s fight against hissusceptibility. Ultimately, the unsuccessful marriage disclosed the hopelessness of his efforts,putting the composer into a poor mental condition in which the symphony no. 4op. 36 came into existence. In a letter to his patron Mrs. von Meck Tchaikovsky describedan objective “program” of the symphony. He sketched the plan of a drama: the motif offate which “hangs over the head like the sword of Damocles”, the state of depression, andglimmers of hope… This description suits well both the sound flow of the symphony andthe course of the composer’s life. Although the next two symphonies were not describedby the composer in such manner, a lot of features analogous to the op. 36 are noticeable.Therefore, the same key can be applied to the interpretation of their dramatic contents.The first movement of each symphony begins with the introduction based on the characteristicmotif of fate which comes and goes as the music develops. The music itselfoscillates between tension and fading, only to explode in tutti with great strength andthickening texture of sounds, and with obsessive motifs. Further, the energy decreasesand the music falls down into low, dark regions. It dies away – but then again, it cheersup and achieves the greatest tension.In the biography of Tchaikovsky there is a great number of facts explaining the significantdifferences between the three symphonies. For instance, the symphony no. 5manifests temporal reconciliation with fate by the brighter mood and a particular wayof elaborating the motif of fate. On the other hand, the generally depressive mood of thesymphony no. 6 (Pathétique) reflects the deterioration of the composer’s physical and psychologicalcondition. It seems that the self-expression ceased to play the role of the catharsis– the purification of mind from bad tensions. There has been a controversy about thecause of Tchaikovsky’s death which occurred briefly after the completion of the symphonyPathétique. The well grounded hypothesis suggesting the composer’s suicide is based onthe same facts which determined the contents of the symphony. Music happens to be themirror of life and the intuition of death.

6

MUZYKA I MORALNOŚĆ: Ekspresja i katharsis w symfoniach Piotra Czajkowskiego

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Szerszenowicz J.

Miscellanea Anthropologica et Sociologica

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2015

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vol. 16(3)

94-114

PL

Paradoksalne powiedzenie, że Czajkowski skomponował trzy Symfonie, IV, V i VI, odzwierciedlasytuację całkowitej nieobecności na estradach koncertowych trzech pierwszychSymfonii, podczas gdy trzy ostatnie biją rekordy popularności. Wydaje się, że sekretich powodzenia leży w ogromnym ładunku emocjonalnym porywającym słuchaczy, cooczywiście rodzi pytanie o pochodzenie tego trwałego, choć wcześniej nieobecnego, ładunku.Niebywałe napięcie i dramatyzm kompozycji podsuwają hipotezę, że Symfoniajest obrazem wewnętrznego rozdarcia, którego źródłem był freudowski konflikt międzynaturą i kulturą na tle orientacji homoseksualnej. Nie był to konflikt utajony – zepchnięty,jak u Leonarda da Vinci, w podświadomość i objawiający się poprzez zamaskowane symbole.Czajkowski był w pełni świadomy, iż jego skłonności seksualne są społecznie nie dozaakceptowania i stanowią zagrożenie tak dla niego samego, jak i dla najbliższych. Próbystłumienia czy choćby zamaskowania tych skłonności okazały się jednak bezowocne. Cowięcej – w dramatyczny sposób ukazywały beznadziejność starań i pogłębiały depresję.

7

„Otwieramy uczniom oczy”. Innowacyjne działania dydaktyczne

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Kiwacka A., Letkiewicz-Zamora J.

Paidia i Literatura

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2020

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issue 2

173-182

EN

The article consists of two parts: the first one includes the introduction to art therapy theory, the second one indicates the possibilities of its application in youth education. Agata Kiwacka and Joanna Letkiewicz‑Zamora - with over 20 years of experience in teaching the Polish language, they both work in integration classes in the Middle School No. 1 with Integration Departments in Bytom. They are also special educators in typhlopedagogy and art therapy. They have been using elements of art therapy during Polish classes. They want to expand their work, so they wrote their own programme, which was deployed in the integration classes in the middle school. They share their experiences from the past four years. They are continuously improving, so that the work they have taken on, would continue to give even more to the young people. They help the pupils get to know and accept themselves. They want the pupils to be aware of their worth, open-minded, and creative. So that in the future, they can become “different people.” This change in the young people is happening right in front of their eyes.

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Bąkowska P.

Pamiętnik Literacki

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2020

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vol. 111

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issue 1

171-183

PL

Prymarnym celem szkicu jest próba uchwycenia wykorzystanych w utworze Godebskiego „Grenadier-filozof” sposobów ukazywania postaci. Szczególną uwagę autorka artykułu poświęciła partiom powieści oddającym wygląd, zachowanie i stan emocjonalny bohaterów, jako fragmentom kluczowym, pozwalającym – w dalszej perspektywie – udzielić odpowiedzi na pytanie o sposoby manifestowania się „ja” w analizowanym dziele oraz (przede wszystkim) o ich związek z krystalizującą się w oświeceniu nowoczesnością. W wyzyskanych przez Godebskiego literackich strategiach konstruowania postaci odnaleźć można m.in. wpływ sentymentalizmu, czyli literackiego prądu sprzyjającego poszukiwaniom nowych dróg ekspresji podmiotu, istotnych także z perspektywy późniejszych przeobrażeń, do których doszło na przełomie XVIII i XIX wieku w sferze tożsamościowej. Owe strategie skłaniają ponadto do rozważenia wpływu ideału autentyczności, znajdującego swoje realizacje w refleksji czołowych przedstawicieli europejskiego wieku świateł, na wyeksponowane w „Grenadierze-filozofie” pożądane wzorce zachowań i relacji międzyludzkich.

EN

The primary goal of the sketch is an attempt at grasping the modes of protagonist presentation in Godebski’s piece “Grenadier-filozof” (“Grenadier the Philosopher)”. Special attention is paid to such parts of the text that refer to appearance, behaviours, and emotional states of the protagonists, all being key parts which, in a broader perspective, allow to answer the question about the ways of manifesting the self in the analysed piece and the connections of the mentioned ways with the modernity crystallising in the Enlightenment. Among the modes of protagonist presentation of which Godebski took advantage we may find, inter alia, influence of sentimentalism, the literary trend that favoured searching for new ways of expressing the subject which were also crucial from the perspective of the subsequent transformations in the sphere of identity that took place at the turn of the 18th and 19th c. The strategies under scrutiny induce to consider the influence of authenticity ideal, which finds its implementations in the thoughts of the leading representatives of the Age of Reason, on the desired patterns of behaviours and interhuman relations presented in “Grenadier the Philosopher.”

14

III Sonata „da camera” na fortepian Romana Bergera w kontekście jego teorii o teorii

75%

Błaszkiewicz T.

Aspekty Muzyki

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2011

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vol. 1

35-46

EN

The article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defines a piece of music as a specific integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is filled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specific and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of inteThe article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defi nes a piece of music as a specifi c integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is fi lled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specifi c and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of integrity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.grity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.

15

Univerbizovane ryrazy odvozene sufixy od slov s ćasorym ryznamem

75%

KOLAROVA I.

Stylistyka

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2007

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vol. 16

465-477

CS

We are going to deal with the simple expressions with components -minutovka, -hodi- novka, -letka (dvouletka, pet Hetka..and with other simple expressions (trvalka, ćasov- ka...) that have been derived from phrases and compound expressions with the adjectives with components -minutovy, -hodinovy, ćasovy (ćasovka), -lety (dvoulety, petilety, from verbal adjective trvaly (Jrvalka). We are gong to research the frequence of the simple expressions dvacetiminutovka, desetiminutovka, dvouhodinovka, ćasovka, trvalka, dvouletka, petiletka... into the texts of Czech national corpus SYN2000 and to compare the freąuence of them with the frequence of phrases and compound expressions desetiminutova hra, petiminutove preruśeni hry, hodinoyy zavod, ćtyriadvacetihodinovy maraton, vytrvala rostlina, ćasovyzavod,jlzda na ćas and all that and appearance of them in various types of texts.

16

Sztuka i mistyka. Ekspresja jako artystyczne doświadczenie absolutu

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Prusik W.

Analiza i Egzystencja. Czasopismo Filozoficzne

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2013

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issue nr 21

131-147

EN

Theory of art as so called the theory of intuition-expression extremely and clearlydemonstrates the way of a mystic experience as a experience of the Absolute. Croce’sconcept of the Absolute is a sign of being spiritual, no diverse in itself, what is morefully given in an emotional (feeling)artistic expression (artwork). Imagination asan appropriate representational power expressively became, in this context, thesphere of the Absolute (indifferent intuition, totality of Being) in which the Absolute realizes – through creation of art – the material world. An artist, because ofhis creative imagination, appears for Croce as a complete, perfect man and fulfillsa creative and demiurge function for the world. According to Kandinsky, inspiredby Steiner’s antroposophy, art doesn’t present concrete thingsbut using a maximumsimplistic concrete form, expresses and shows things in itself, as an ideal, spiritual,absolute but compared to the world of concretes, the mentioned thingsare internal,substantial, essential and “abstractive”. Abstraction as a “true reality” demands ofgiving up the empirical world and looking continuously at the sphere of absolute“necessity”. Art is a specific, inspired knowledge of the Absolute and an abstractartist inspired by this knowledge and expressing it in his artworks must be understoodin a way characteristic of mysticism (an inspired visionary-prophet, perfect man).In Adorno’s aesthetic theory art actualizes the nature in aspect of beauty and thisactualization consists in changing towards the lack of identity. An individual (eachone ) artwork is the “epiphany” of “spirit” of art, that is an aesthetically Absolute.As a result an artwork presents itself as a kind of “mystic event”, but an artist expressing the sphere of the Absolute still be an inspired visionary going beyond thenatural (empirical) order.All of these theories of art are based on the old neoplato-arabian theory of “creativeimagination” which determinates their quasi- or pseudo-mystic aspiration. Theyare not go beyond tradition, that is “natural mysticism” (characteristic of pantheism). This kind of mysticism differs from revelation mysticism on the grounds ofTranscendence (aspect of a object) and classical moment ofcontemplatio (aspectof a subject).

17

A to prostak jeden! – o ekspresywnej jednostce jeden

75%

Kosek I.

Prace Językoznawcze

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2020

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issue XXII/1

119–130

PL

Celem artykułu jest wstępna charakterystyka własności funkcjonalno-składniowych wyrażenia jeden w kontekstach takich, jak zasygnalizowany w tytule. W szerszej perspektywie artykuł wpisuje się w nurt badań nad własnościami językowymi jednostek języka (w rozumieniu Andrzeja Bogusławskiego) jako budulcem wypowiedzeń. Przeprowadzona analiza pozwala scharakteryzować jeden jako wyrażenie nienależące do przedmiotowego poziomu języka, otwierające miejsce dla nazw osób, obligatoryjnie postpozycyjne wobec rzeczowników, z którymi się łączy. W strukturze tematyczno rematycznej analizowane jeden nie może być rematem (zajmuje zwykle miejsce komentarza rematu). Opisywane wyrażenie ma charakter ekspresywny, przesądza też o (negatywnym) wartościowaniu.

EN

The main objective of the analysis is to preliminarily characterize the syntactic-functional features of the string jeden (‘one’) in occurrences to the one given in the title. In a broader perspective, the paper can be treated as a part of the studies on description of language units (in the sense of Andrzej Bogusławski) as the main building material of utterances. The analysis leads to the conclusion that the described unit does not belong to the objective level of language and it is used with nouns referring to people, taking a postposition relative to those nouns. The unit can not function as a rheme in a thematic-rhematic structure. (It is primarily a rhematic comment.) Jeden is an expressive unit and it determines the (negative) evaluation.

18

„Unieść swą duszę ponad wymiar czasu” – o afektacji w ogłoszeniach towarzysko-matrymonialnych kobiet

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Matusiak-Kempa I., Krawczyk J.

Prace Językoznawcze

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2011

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issue 13

157-165

EN

This article is an attempt to show ways of expressing emotion in online texts social-matrimonial advertisements on the portal Sympathy. Affectation in comments of internet users is examined at the level of semantic, syntactic and stylistic. Linguistic analysis also takes into account the cultural context. Linguistic utterance is seen as a kind of discourse reflected in characteristic ways of self-presentation, making the game-linguistic communication, stressing their own creativity and emotionality

19

Norma prawna: wyrażenie czy wypowiedź?

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Hermann M.

Przegląd Sejmowy

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2013

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issue 2(115)

67 – 86

EN

Opting for the linguistic concept which dominates Polish legal theory does not eliminate all doubts about comprehension of legal norms. The aim of the article is to determine whether such norms should be perceived as expressions or statements. It would seem that, except for improving conceptual apparatus, this problem is of no considerable significance. Nevertheless, finding a solution to it would allow us to address many other important issues. The recognition of the legal norm as a statement would make it possible to: coherently arrange the links existing between a lawmaking action and its substrata at different levels, specify in detail relations between a legal provision and a legal norm, define what functions are played by validating rules and rules of exegesis in legal system construction, resolve a dispute on whether systemic nature is an immanent or transcendent characteristic of law, and also address the issue of equivalence of legal norm.

20

Ontyczny status wyrażeń według de Saussure’a na tle ujęć chińskich i indyjskich teoretyków języka

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Drzazgowska E.

Linguistica Copernicana

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2013

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issue 2(10)

51-63

EN

The aim of the paper is to point out certain analogies between de Saussure’s theoretical reflection on the ontic properties of expressions and the corresponding old Chinese and Indian concepts. Following a review of de Saussure’s ideas, the author proceeds to present their Eastern analogues. The main focus is turned to the fact that the Chinese Moists as well as the Indian grammarians and philosophers elicited proportion as the key to the understanding of the mechanism of language. The Sanscrit grammarians, the philosophers of Mīmāṃsa as well as, most probably, Gongsun Long in China saw clearly the invariant and non-material nature of expressions. The Buddhist logicians and the Moists also pointed to the oppositional character of expressions as constitutive for language.

Refine search results

Obraz zaburzeń emocjonalnych w autonarracji K.R. Jamison

Wolność słowa vs. wolność religijna. Wybrane zagadnienia

Overview of the KTH rule system for musical performance

Funkcjonalizm w architekturze: od neolitu do wczesnego modernizmu

MUSIC AND MORALITY: Expression and Katharsis in Peter Tchaikovsky’s symphonies

MUZYKA I MORALNOŚĆ: Ekspresja i katharsis w symfoniach Piotra Czajkowskiego

„Otwieramy uczniom oczy”. Innowacyjne działania dydaktyczne

Body – Tradition – Expression. Remarks on Japanese Culture

Collingwood and ‘Art Proper’: From Idealism to Consistency

Funkcja ekspresywna leksyki z zakresu medycyny w listach prywatnych Henryka Sienkiewicza

Rekolekcje szkolne ewangelizacją młodzieży

W poszukiwaniu języka skrzywdzonych. Wokół Ciemno, prawie noc Joanny Bator

Apoteoza „twarzy autentycznej” – o „Grenadierze-filozofie” Cypriana Godebskiego. Uwagi wstępne

III Sonata „da camera” na fortepian Romana Bergera w kontekście jego teorii o teorii

Univerbizovane ryrazy odvozene sufixy od slov s ćasorym ryznamem

Sztuka i mistyka. Ekspresja jako artystyczne doświadczenie absolutu

A to prostak jeden! – o ekspresywnej jednostce jeden

„Unieść swą duszę ponad wymiar czasu” – o afektacji w ogłoszeniach towarzysko-matrymonialnych kobiet

Norma prawna: wyrażenie czy wypowiedź?

Ontyczny status wyrażeń według de Saussure’a na tle ujęć chińskich i indyjskich teoretyków języka