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1

Semantic Change in African American Slang

100%
Widawski M.
Studia Anglica Posnaniensia
|
2013
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vol. 48
|
issue 1
29-44
EN
Semantic change is an important part of African American slang and involves two mechanisms: figuration and shifting. Both are enormously productive and account for numerous slang expressions based on standard English. This paper presents these processes in detail. Partially drawing from the author’s earlier publications, the presentation is based on lexical material from a sizable database of citations from contemporary African American sources collected through extensive fieldwork in the United States in recent years.
2
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Gendered Figurational Strategies in Norbert Elias’s Sociology

100%
Bucholc M.
|
2011
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vol. 176
|
issue 4
425-436
EN
Norbert Elias conceptualized social inequality as a result of shift in relative social forces of individuals in figurations, in which framework he also viewed the inequality between men and women. In this paper I examine the main thesis of what could be named Elias’s gender sociology: firstly, men and women use different strategies in their striving for an increase in relative power depending on their social position, and secondly, one of the most effective strategies which may be successfully used by the weaker party in order to change the distribution of power between the sexes is redefining the arsenal of cultural weapons used in this struggle. The antagonism between men and women trying to draw as much power as possible to themselves in the zero-sum social game can become very fierce, especially if the use of physical violence is legitimized on a respective level of civilization. On the other hand, according to Elias’s basic theoretical assumptions all individuals in a figuration are interrelated and interdependent, which restrains direct violence as well as suppresses radical liberation tendencies. This makes it easier for women to engage in strategies of coping with oppression on institutional, symbolic and proxemic level, which are discussed in the final part of the paper.
3

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

88%
Király H.
Acta Universitatis Sapientiae, Film and Media Studies
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2016
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vol. 12
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issue 1
67-86
EN
The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1
4
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A Circle or a Spiral? The Primeval, Tropological Scheme Identified in the Structure of Truth Theories

88%
Cirillo G.
Filozofia i nauka. Studia filozoficzne i interdyscyplinarne
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2022
|
vol. 10
173-185
EN
Applying linguistic tropes to the deep structure which underlay the 19th century historical imagination Hayden White derived from the vault of philosophical richness contained in Giambattista Vico’s La Scienza Nuova. Now the treasure trove becomes a source of one more illuminating analogy. The following study demonstrates how metaphor, metonymy, synecdoche and irony can be identified with five major theories of truth: the correspondence, pragmatic, coherence, deflationary and the semantic one. Theories are evoked on the basis of texts by philosophers themselves (Bertrand Russell, Charles Sanders Peirce, Brand Blanshard et al.). Moreover, a numerical mismatch between them and the four tropes should be seen as everything but unwanted. The concept of irony has multiple interpretations, and so mapping it onto the semantic theory will expose the relation between truth accounts and the principle of their development. In the end, there emerges a pattern in the shape of a circle or a spiral—two models of infinity along which runs the human quest for meaning of truth.
5
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The Society of Individuals: How to Solve the Dilemma of Individualism and Holism in Historical Sociology

75%
Šubrt J.
Historická sociologie (Historical Sociology)
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2015
|
vol. 1
9-23
EN
One of the questions that Norbert Elias tries to resolve in his work – either explicitly or implicitly – is the issue of the relationship between the individual and society. Elias critically assesses two approaches to this issue that sociology offered in his time, namely the Weberian conception of individualism that postulates the human individual as the starting point of sociological thought, and the Durkheimian conception of holism, which considered society as a whole as the starting point, giving regard to holistic, supra-individual social facts. Elias considers both of these solutions one-sided and unsatisfactory, and in his conception tries to supercede them. His strategy is close to that of Georg Simmel before him. It consists in highlighting the “third” that lies between the individual and society, which connects them. Simmel calls this “third” “Wechselwirkung”. Elias speaks about “figuration”. In this article, we consider how successful Elias’ strategy is, its merits and its shortcomings. At the end of the text, the author attempts to formulate his own solution of the discussed problem, which is different from Elias’s approach and based on the concept of “homo duplex”.
6
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Montaigne, czyli o wielkości małych słów

75%
Ryczek W.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
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issue 35
442-454
EN
The main aim of this paper is to propose a new Polish translation one of the well-known Michel de Montaigne’s essays, De la vanité des paroles (On the Vanity of Words, I 51). For the humanist, rhetoric delimited only to elocution responsible for linguistic adornments becomes the subject for critical investigation. In a short introduction to the essay, the author takes into consideration the rhetoric of Montaigne’s discourse on ‘the vanity of words’ with a particular attention to two rhetorical forms: amplification and figuration. Raising questions about lack of temperance in amplifying and adorning words with tropes and figures, the humanist attempted to revalorize linguistic and stylistic simplicity. Therefore, to find the proper words for various things, emotions and experiences are the central concern of an essay, a new literary genre invented by Montaigne.
7
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A Circle or a Spiral? The Primeval, Tropological Scheme Identified in the Structure of Truth Theories

75%
Cirillo G.
Filozofia i Nauka
|
2022
|
vol. 10
8
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Publicistički diskurs A.G. Matoša – od stila do političkog imaginarija

65%
Beck B.
Poznańskie Studia Slawistyczne
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2014
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issue 7
37-48
EN
In the newspaper articles and feuilltons, Antun Gustav Matoš uses a variety of procedures analogous to his artistic creation and develops a rich figuration and characteristic irony. The journalistic discourse constructed in that way consistently creates political and social imaginary which confirms oppositions: nationally/internationally, individual/collective, tradition/modernity and Croat/Serb, where the author clearly states his preference. Although Matoš consistently promote Starčevićʼs heritage, liberalism and individualism, he does not simply convey a political message, but adds meaning to agitation, which boosts its suggestivness, but also causes that it becomes relative.
PL
In the newspaper articles and feuilltons, Antun Gustav Matoš uses a variety of procedures analogous to his artistic creation and develops a rich figuration and characteristic irony. The journalistic discourse constructed in that way consistently creates political and social imaginary which confirms oppositions: nationally/internationally, individual/collective, tradition/ modernity and Croat/Serb, where the author clearly states his preference. Although Matoš consistently promote Starčevićʼs heritage, liberalism and individualism, he does not simply convey a political message, but adds meaning to agitation, which boosts its suggestivness, but also causes that it becomes relative.
9
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Stuck in loop: Kazimierz Tetmajer’s attempts to cope with transcendental absence (lack)

51%
Pilch U., Pilch U.
Ruch Literacki
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2021
|
issue 2
10
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Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

51%
Nowicka D.
Narracje o Zagładzie
|
2019
|
issue 5
176-198
EN
For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.
PL
Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.   
11
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Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

51%
Nowicka D.
Narracje o Zagładzie
|
2019
|
issue 5
176-198
EN
For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.
PL
Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.   
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