Search results

1

Lasa ed iconografia delle figure femminili alate su alcuni monumenti etruschi

100%

Korczyńska-Zdąbłarz M.

Studies in Ancient Art and Civilization

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2011

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vol. 15

185-201

IE

The paper is concerned with Lasa, a personage of the Etruscan pantheon, represented as a winged woman. Presented are interpretations of this figure as connected with the underworld demons, as a ‘servant’ of the goddess of love – Turan, and as a powerful Etruscan goddess. A table gathers artefacts on which, apart from the winged female figure appears also the name ‘Lasa’ (12 bronze mirrors and a gold finger ring from Todi). Four of them are described in detail, and confronted with various interpretations of the figure in question. Also the epithets of Lasa (Vecu/Vecuvia, Achununa, Racuneta, Sithmica and Thimrae) are explained. The paper attempts at answering the question whether the name Lasa can be used for all winged female figures in Etruscan art. Particular attention is given to mirrors belonging to the so-called Lasa Group, as well as Redfigure vases (e.g. Funnel Group and Clusium Group). Comparison of the nameless figures to Lasa allowed for the following conclusions: 1) the name Lasa should not be applied to any winged female figure, it would be more suitable to introduce the term ‘Pseudo-Lasa’; 2) the meaning of the winged female figure usually remains unclear, but it should probably be treated as connected with the world of women. The paper emphasizes that the figure of Lasa continues to raise questions, and her role in the Etruscan religion remains disputable.

2

Andrzej Stasiuk, tekstowe figury doświadczenia

61%

Kloch Z.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2020

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vol. 27

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issue 36

EN

The aim of the article is to show the role of various metaphorical practices that are a dominant structural feature of Andrzej Stasiuk’s prose, used to construct his textual reality. Comparisons, metaphorical statements, and enumerations represent textual figures that transform the described experience of the world from the perspective of the speaking subject, subjectivising and constructing reality, rather than merely representing it. In both his novels and feuilletons, Stasiuk relates his experiences of the world in different temporal orders, constructing them on a textual level. Yet his thoroughly subjective prose preserves the conventions of realism. At the same time, Stasiuk quite often refers to the genre of the road novel, both in his fiction and in his journalism. Textual figures of experience are his basic means of describing the presented world.

3

Portraits of Antun Gustav Matoš by Josip Vaništa and Antun Babić

61%

Kusik V.

Poznańskie Studia Slawistyczne

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2014

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issue 7

PL

This essay deals with two visual art portraits by the painter Josip Vaništa and the sculptor Antun Babić. The subject is Antun Gustav Matoš, whom each artist depicts according to his own artistic vocabulary and visual language. There is a difference in both the form and the motivation. For Josip Vaništa, A.G. Matoš announced the dawn of Croatian modernism, which was his painterly point of departure, while for A. Babić, A.G. Matoš was a literary figure who belonged to s specific physical space.

4

Struktura słowa jako figura

61%

Lewiński P.

Język a Kultura

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2015

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vol. 25

201-213

EN

Some figures are based on a change in the orthography or phonology of a single word and others incorporate the context and visual form of a word. In contrast to the changes made accidentally and treated as vices, figures are considered conscious choices made by the speaker or writer in order to reveal a double meaning, display eloquence or brilliance. Because grammar describes only regular and categorial phenomena in languages, for the sake of describing irregular and occasional processes it is worth taking into account the usefulness of rhetoric terms. In the following paper I discuss figures resulting from the word structure.

5

Les cas des fi gures. L’analyse stylistique du texte dramatique au XVII siècle

61%

Bajer M.

Annales Neophilologiarum

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2010

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issue 4

5-25

EN

The article deals with stylistic aspects in the analysis of 17th-century drama in France. In their critique of dramatic elocutio, pamphlet and poetic authors ascribe an expressive function to fi gures of discourse. This concept has strong roots in rhetorical theory, in whose development in the 17th century may be observed a characteristic evolution: from the initial valorisation of concepts of thought (such as hypotyposis), authors confer basic expressive functions to fi gures of construction (syllepse, ellipse, pléonasme, hyperbate). Also founded on poetics, the stylistic analysis of texts valorises only certain types of fi gure: the strictly dramatic function is ascribed above all to fi gures of thought, and sense. It is interesting that 17th-century poetics does not ascribe dramatic functions to fi gures of construction, which allows the limits of the infl uence of rhetorical theory on stylistics in poetics to be defi ned.

PL

Przedmiotem artykułu są aspekty stylistycznej analizy dramatu w XVII wieku we Francji. W swojej krytyce dramatycznego elocutio autorzy poetyk i pamfl etów przypisują figurom dyskursu funkcję ekspresywną. Ta koncepcja jest silnie osadzona w teorii retoryki, w której rozwoju w XVII wieku można zaobserwować znamienną ewolucję: po początkowej waloryzacji fi gur myśli (np. hipotypoza), autorzy przyznają podstawowe funkcje ekspresywne fi gurom konstrukcji (syllepse, ellipse, pléonasme, hyperbate). Również prowadzona na gruncie poetyki analiza stylistyczna tekstów waloryzuje tylko pewne typy figur: ściśle dramatyczna funkcja przyznawana jest przede wszystkim figurom myśli oraz sensu. Interesujący jest fakt, iż poetyka XVII wieku nie przypisuje funkcji dramatycznych figurom konstrukcji, co pozwala uchwycić granice wpływu teorii retoryki na stylistykę uprawianą w ramach poetyki.

6

The Problem of Polysemy within the Cognitive-Discursive Linguistic Paradigm (Based on the Contexts of the Fictional Discourse of the Verbal Predicates чудиться, почудиться)

61%

Чернцова Е., Педченко Л., Cherntsova E., Pedchenko L.

Slavia Orientalis

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2022

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vol. LXXI

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issue 2

7

Метакогнитивная репрезентация концептуальной области „кажимости” (на материале семантики глагольных предикатов „казаться”, „показаться”)

61%

Чернцова Е.

Studia Rossica Posnaniensia

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2019

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vol. 44

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issue 1

277-288

RU

The article analyzes the correlation between the cognitive semantics of the words казаться, показаться and the ordinary/fictional narrative strategy, embodied in a context of a particular type. The cognitive semantics of the words is identified within such parameters as a ‘discourse context type’, ‘narrative strategy’, as well as the ‘communicative register’ – either ‘reproductive’ or ‘informative’. The paper considers a gestalt scenario, according to which different contexts with the words казаться, показаться are built up. The author demonstrates the integrity of the gestalt and also describes focus shifts which underlie the construction of different contexts – ‘background’ and ‘figure’.

8

Co, jak i po co, czyli o związkach formy z funkcją na przykładzie haiku

53%

Tabakowska E.

Poznańskie Studia Slawistyczne

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2017

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issue 13

EN

The paper addresses the problem of mutual relation between form and function as exemplified by haiku. Focusing upon the structure of haiku conducive to epiphany, it discusses some general aspects, independent of the differences between Eastern and Western varieties of the form. The “literariness” of the genre is demonstrated with reference to dimensions of imagery (as defined in Langacker’s model of cognitive grammar), and to the strongly metonymic character of haiku. Finally, some shortcomings of “Polish haiku” are shown as a function of its culture-bound untranslatability.

9

Karl Bühler: The Principle of Gestalt

51%

Cattaruzza S.

Dialogue and Universalism

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2015

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issue 4

77-85

EN

Karl Bühler’s last essay dedicated to the principle of Gestalt was published 1960. By publishing it, Bühler closed in the final period of his life the circle he had opened in 1913 with his Gestaltwahrnehmungen. The said essay was essentially founded upon observations, experiments and rigorous measurements. Its introduction stresses the connections between researches in psychology of perception and the field of aesthetics. In particular, it positively comments on the following passage by Adolf Hildebrand, taken from his work Das Problem der Form in der bildenden Kunst (1908): “A play, a symphony, presents an architecture, an internal structure; it constitutes an organic whole of relations, like a painting, a statue, even though the different arts inhabit worlds of totally different forms.” The same quotation opens, almost fifty years later, Bühler’s work Das Gestaltprinzip im Leben des Menschen und der Tiere, enlarging the discussed fields and adding further reflections on language, philology, cybernetics, biology, and the life sciences.

10

Категорія нижчої міфології в системі світоглядних уявлень карпатських українців

51%

Наугольник Д.

Poznańskie Studia Slawistyczne

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2012

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issue 3

EN

‘Lesser mythology’ played an important role in the worldview notions of the Carpathian Ukrainians (Hutsuls, Boykos and Lemkos) during the nineteenth and twentieth centuries. It combines notions about various demonic figures, which may be divided into three types: figures of unearthly origin; transformed human souls; people in possession of secret knowledge and supernatural qualities. The terms used to define the representatives of lesser mythology varied from region to region. A range of euphemisms was also used. The coexistence between the living and the undead gave rise to many taboos relating to magic.

11

Dzieje sanktuarium Matki Bożej w Gidlach w świetle akt z Archiwum Dominikanów w Krakowie

51%

Cholewiński Ł.

Roczniki Teologiczne

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2015

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vol. 62

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issue 4: Historia Kościoła

85-103

EN

The purpose of this paper is to present and to familiarize the history of the Shrine of Our Lady of Gidle. Until now, it did not live his monograph. This work is a contribution to the full monograph. The author relied on the Dominican Archives in Krakow, available sources and literature. It discusses the history of the sanctuary to 1914. Particular attention is paid to build the temple. Discusses the stages of its construction. In the text the author draws attention also to the cult of the Mother of God in Gidle. It is characterized by problems that came pilgrims. Together form a picture of the sanctuary in the period from the sixteenth to the twentieth century.

PL

Celem niniejszej pracy jest przedstawienie i przybliżenie historii Sanktuarium Matki Bożej w Gidlach. Temat ten nie doczekał się jak do tej pory swojego opracowania. Artykuł może stać się przyczynkiem do napisania pełnej monografii. Autor oparł swoje badania na materiałach zgromadzonych w Archiwum Dominikanów w Krakowie. Wykorzystał także dostępną literaturę przedmiotu. W swojej pracy omówił dzieje klasztoru do 1914 r. Szczególna uwaga skierowana została na kwestię budowy świątyni, gdzie umieszczono cudowną figurkę Matki Bożej. W artykule poruszone zostały także kwestie związane z rozwijającym się ruchem pątniczym. Elementy te złożyły się na historiograficzną wizję dziejów sanktuarium od XVI do XXwieku.

12

Fenomenologia postaci. Z inspiracji Hansa Ursa von Balthasara

41%

Urban M.

Logos i Ethos

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2022

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vol. 60

|

issue 2

73-88

EN

The concept of a figure (form) comes originally from the world of Greek thought, which created the notions of eidos (indicating both an image and an idea) and morphe (primarily describing a figure). They were taken from the world of organic life on the one hand, and from the world of thought, technical and artistic creativity on the other, and, so to speak, transferred and ennobled for philosophical use. The concept of form (figure), however, dominated not only Greek thought, but also medieval to the same extent, where it evoked the idea of something complete, perfect, defining. In modern philosophy, the concept of a figure in the world of organic life appears in the thought of J. W. Goethe and in the philosophical and theological thought of H. U. von Balthasar. The concept of a character who seems different from each side, and at the same time constantly radiates the full light of being, can introduce not only the understanding of man, animals or plants, but also the world of the diversity of perceptions of the same reality. What is it about? First of all, in contrast to Kant’s critical view, or the analytical view of natural sciences, on the synthetic view and the ability to see a living figure. Beauty appears in the world in visible forms and is given to us, above all, in the secret of a figure or an image. Only the figure claims the full name of beauty and is the place where the splendor of eternal beauty is revealed.

PL

Pojęcie postaci (formy) wywodzi się pierwotnie ze świata myśli greckiej, który stworzył pojęcia eidos (wskazujące zarówno na obraz, jak i na ideę) i morphe (określające przede wszystkim postać). Zostały one przejęte z jednej strony ze świata życia organicznego, z drugiej zaś ze świata myśli i twórczości techniczno-artystycznej oraz (jeśli można tak powiedzieć) przeniesione i w sposób uszlachetniony przeznaczone do użytku filozoficznego. Pojęcie formy (postaci) zdominowało jednak nie tylko myśl grecką, lecz w takim samym stopniu również średniowieczną, gdzie wywoływało wyobrażenie czegoś pełnego, doskonałego, określającego. W filozofii nowożytnej pojęcie postaci w świecie życia organicznego pojawia się w myśli J. W. Goethego oraz w myśli filozoficzno-teologicznej H. U. von Balthasara. Pojęcie postaci, która z każdej strony wydaje się inna, a jednocześnie cały czas promieniuje pełnym światłem bytu, może stanowić wprowadzenie nie tylko do rozumienia człowieka, zwierząt czy roślin, ale do świata różnorodności postrzegania tej samej rzeczywistości. Na czym ono polega? Przede wszystkim, w przeciwieństwie do krytycznego spojrzenia Kanta czy analitycznego nauk przyrodniczych, na spojrzeniu syntetycznym i umiejętności dostrzegania żywej postaci. Piękno ukazuje się w świecie w widocznych formach i daje się nam przede wszystkim w tajemnicy postaci lub obrazu. Tylko postać rości sobie prawo do pełnego imienia piękna i jest miejscem, w którym ukazuje się blask piękna odwiecznego.

13

Лікі і лічбы ў славянскай урбананіміі: набор, сімволіка, асаблівасці функцыянавання

41%

Mezenka H.

Onomastica

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2017

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vol. 61

|

issue 1

43-53

EN

As part of a general lexical system, urbanonymy reflects cultural phenomena in a broad sense. Alongside often discussed and well-studied lexical units, there are other urbanonyms that have been neglected by researchers for various reasons. Intra-city names containing numbers and figures belong to this neglected category.The aim of the study is to define the role of numbers and figures in Slavic urbanonymic systems. The research material is comprised of the contemporary urbanonymy of cities in Belarus, Russia, Poland and Bulgaria; toponymic dictionaries, electronic resources, tourist guides, maps and atlases have been used.The author demonstrates the shared and specific features of the numbers and figures used in the Belarusian urbanonymic system, as compared to that of Russia, Poland and Bulgaria. The symbolic meaning of these figures in the Slavic urbanomasticon is also discussed.In spite of the existing differences in the use of names with a numerical component, their com¬position can be treated as a universal onomastic process. Street names containing figures are part of national culture, as they call to mind important national events or facts, both past and present. This helps individuals cultivate a personal sense of belonging to their native land, thus contributing to the preservation of tradition.

14

„Misjonarz” i „fachowiec” — dwie figury implikowane przez „ja” nadawcze w polskich tekstach politycznych po 1989 roku

41%

Kłosińska K.

Oblicza Komunikacji

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2014

|

vol. 7

115-126

EN

The author of the article discusses two figures of a politician emerging from two political discourses present since 1989 — ethical (in its two varieties: “romantic” and “socialist”) and pragmatic. The “missionary” politician, who is a central figure of the ethical discourse, frames reality in terms of ethical categories, applying them to spiritual matters (the “romantic” variety — the politician is a “guide”) or those relating to everyday life (the “socialist” variety – the politician is the “father of the nation”). The “ethical missionary” places himself above “ordinary people”, treated as passive and having a sense of entitlement. The “professional” politician — the main figure in the pragmatic discourse — describes the world from an economic perspective. He does not rise above the community to which his message is addressed, but tries to become united with it, expecting it at least to be active, if not make an effort in the pursuit of common objectives.

15

TETRADA, CZYLI CZTEROELEMENTOWY WZORZEC PRZEMIAN KULTUROWYCH

41%

Kłos J.

Roczniki Filozoficzne

|

2013

|

vol. 61

|

issue 4

93-115

EN

This paper seeks to discuss the tetradic structure of cultural transformations effected by human artifacts. It was Marshall McLuhan’s main idea to think of our historical changes in terms of various modes of communication. Each mode introduces a new form of human interaction. The spoken word produced coherent communities. The written word caused fragmentation. McLuhan believed that electronic artifacts would restore the lost integrity. His tetradic structure of cultural changes was inspired by Gestalt psychology with its key pair: figure—ground. McLuhan thought that humanity is resonating within this two elements evolving from the culture of the written word to the culture of the spoken word. Eventually, we shall found ourselves in the acoustic space.

16

L’hypotypose ou l’image onirique de la mer dans Écailles Alexandrines de Mona Latif-Ghattas

26%

Basta G.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

|

2016

|

issue 11

287-302

EN

Alexandrian Seashells is a poetic collection of Mona Latif-Ghattas, where we try to study the dream image of the sea; poet recounts her memories of youth, stranded as seashells on the beach. Hypotyposis is the best figure of speech that reflects poetic hallucinated impulses, symbolic elusive relationships or inexpressible feelings. Essentially descriptive, this figure is based on the observation of feelings, sensations or elusive impressions. It transmits the fleeting thoughts by its dynamic appearance. The multiple facets of hypotyposis, spread through the space-time items, include figures attached either to land, desert, beaches or fluid figures that derive their value from the sea. The hypotyposis is able to connect the lived memories with the emotional effect produced by the moment.

FR

Écailles Alexandrines, recueil poétique de Mona Latif-Ghattas, où l’on tente d’étudier l’image onirique de la mer; la poétesse y retrace ses souvenirs de jeunesse, ramassés comme des coquillages échoués sur les plages. L’hypotypose est la meilleure figure qui reflète les élans poétiques hallucinés, les rapports symboliques qui soulignent l’inexprimable. Essentiellement descriptive, elle se fonde sur l’observation des sentiments, des sensations ou des impressions mobiles et changeants. Les multiples facettes de l’hypotypose se répandent à travers les éléments spatiaux, regroupant les figures attachées soit à la terre, au désert, aux plages ou les figures fluides. L’hypotypose tresse les souvenirs vécus avec les états d’âme produits par l’effet du moment.

Refine search results

Lasa ed iconografia delle figure femminili alate su alcuni monumenti etruschi

Andrzej Stasiuk, tekstowe figury doświadczenia

Portraits of Antun Gustav Matoš by Josip Vaništa and Antun Babić

Struktura słowa jako figura

Les cas des fi gures. L’analyse stylistique du texte dramatique au XVII siècle

The Problem of Polysemy within the Cognitive-Discursive Linguistic Paradigm (Based on the Contexts of the Fictional Discourse of the Verbal Predicates чудиться, почудиться)

Метакогнитивная репрезентация концептуальной области „кажимости” (на материале семантики глагольных предикатов „казаться”, „показаться”)

Co, jak i po co, czyli o związkach formy z funkcją na przykładzie haiku

Karl Bühler: The Principle of Gestalt

Категорія нижчої міфології в системі світоглядних уявлень карпатських українців

Dzieje sanktuarium Matki Bożej w Gidlach w świetle akt z Archiwum Dominikanów w Krakowie

Fenomenologia postaci. Z inspiracji Hansa Ursa von Balthasara

Лікі і лічбы ў славянскай урбананіміі: набор, сімволіка, асаблівасці функцыянавання

„Misjonarz” i „fachowiec” — dwie figury implikowane przez „ja” nadawcze w polskich tekstach politycznych po 1989 roku

TETRADA, CZYLI CZTEROELEMENTOWY WZORZEC PRZEMIAN KULTUROWYCH

L’hypotypose ou l’image onirique de la mer dans Écailles Alexandrines de Mona Latif-Ghattas