Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  graphic
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Assimilation of English borrowings in Japanese

100%
Wawrzyniuk J.
Crossroads. A Journal of English Studies
|
2017
|
vol. 19
EN
This study provides a corpus-based analysis of English borrowings in Japanese with the focus on the assimilation processes which the borrowed items undergo. The corpus has been compiled by the author using a number of websites used by speakers of Japanese. The study shows that most of the borrowings undergo graphic and phonetic assimilation, such as vowel insertion and sound substitution. Grammatical and semantic assimilation are both less apparent and less frequent. Japanese uses a considerable number of borrowings from English, but as the examples discussed in this study, the borrowings often co-exist with their native equivalents and are used interchangeably.
2
Publication available in full text mode
Content available

Życzenie jako gatunek tekstu

100%
FILIP G.
Stylistyka
|
2007
|
vol. 16
566-578
PL
Greetings and wishes comprehended as acts of etiąuette expressed at different occa- sions are the subject of the article. The author analyses wishes sent on post cards prepared for various occasions dating to the 20,h and 21st century. The point of reference for such expression are:1. local newspapers and magazines - the published ready wishes,2. electronic mail - electronic versions of cards for different occasions.The common feature of the above is the possibility of joining the graphic and the lan- guage codę as well as the possibility of sending the wishes on a massive scalę.The relationship between text and time is treated as the influence of time on the text of the wishes. The aim of the article is the observation whether the wishes undergo a change with the passing of time, for example in the course of the century, which aspects - styli- stic-language aspect or the universal hierarchy of values - undergo change and finally for which reasons.
3
Content available remote

Trwanie plamy i migotanie linii. Przestrzeń i czas w grafikach Arthura C. Danto

100%
Winskowski P.
Estetyka i Krytyka
|
2016
|
issue 3(42)
193-218
EN
The woodcuts of Arthur C. Danto remain overshadowed by his work as a philosopher, aesthetician and art critic. The present article addresses several formal aspects of these woodcuts, beginning with an analysis of the graphic line and the way in which these lines are composed of stains, the suggestion of space appearing at the edge of the line, the relationship between the amount of time invested in the making of a woodcut and the time taken up by its perception as well as the aesthetic motifs of the Far East, especially in terms of the spontaneity of the artistic act set against the time-consuming and disciplined production of a woodcut block. The text refrains from analysing the relationship between Danto’s philosophical theorising and his artistic work and instead identifies particular technical characteristics of his work that may constitute a starting point for a general aesthetic reflection on his woodcuts and, subsequently, on the relationship between the act of creating and the act of philosophising.
4
Publication available in full text mode
Content available

Słowo i obraz – diskos w drukowanych służebnikach pierwszej połowy XVII wieku (metropolia kijowska)

84%
Nowak A.
Latopisy Akademii Supraskiej
|
2021
|
vol. Obraz - Słowo - Litera
|
issue 12
161-172
EN
Graphics appeared in liturgical books in the Kyiv Metropolitanate in the 17th Century. Some of them were aids for celebrants, as they complemented the textual commentary in the liturgical rubrics and fulfilled a practical role. In the article, we analyze the representations of communion paten/discos (sometimes with additional textual instructions) that were found in liturgiarions in the first half of the mentioned above century. An analysis of these sources shows that the celebrant may have had many problems in liturgical practice due to: – ritual variety; – different systems of understanding the right and left sides in the description of the correct arrangement of the bread on the discos in liturgical rubrics; – a different perspective adopted in the graphic diagram and in the text description in the rubrics (the perspective of the priest looking at the paten or vice versa); – mismatch between the „word“ in the rubrics and the „image“ (sometimes with additional text instruction on the understanding of the right and left sides). Thus, the rubrics commentary itself did not guarantee the correct understanding of the directions and, in consequence the correct arrangement of the particles. Precise indication of them was possible with the help of a graphical diagram intended to be recreated in reality, and the accompanying instruction which confirmed that the figure should be treated as a model.
5
Publication available in full text mode
Content available

Multimodal literacy, and the spectrum of communicative possibilities furnished by non-verbal devices

84%
Larysa L.
Language. Culture. Politics. International Journal
|
2017
|
vol. 1/2017
37-53
EN
In this article, consideration is given to the process of utilizing multimodal techniques in the process of producing communicative content. A brief overview is given to the principal categories of non-verbal devices and means that are studied in the field of multimodality, including some specific items which are included in those various classifications. Some attention is given to the manner in which the technological advances of the digital age have been interlinked with the proliferation of non-verbal devices in so many texts of various types to which individuals are exposed nowadays. A significant part of the article is devoted to the issue of multimodal literacy, both as reflected by the manner in which multimodal techniques are employed by the creators of content, and the manner in which recipients of this content are able, to varying degrees and for various reasons, to arrive at a perception of the message that is being conveyed.
PL
W niniejszym artykule rozważania skierowane są na proces praktycznego wykorzystania technik multimodalnych w trakcie tworzenia aktu komunikacji. W sposób skrótowy przedstawione są podstawowe kategorie narzędzi niewerbalnych oraz środków, które są przedmiotem rozważań w sferze multimodalności, w tym te, które zawarte są w przedstawionej klasyfikacji. Ponadto, uwaga skupiona jest na sposobie, w jaki następuje technologiczny rozwój cyfryzacji w połączeniu z procesem proliferacji środków niewerbalnych widocznych w wielu różnorodnych tekstach, spreparowanych dla odbiorcy. Znaczna część artykułu poświęcona jest przypadkowi multimodalnej sprawności, zarówno w odniesieniu do sposobu, w jaki multimodalne techniki są wykorzystywane przez twórców treści a także sposobu, w jaki odbiorcy tych treści są w stanie na odpowiednim poziomie zrozumienia odebrać zawarte w nich informacje.
6

Twórczość plakatowa Henryka Tomaszewskiego w latach 1949-1955

84%
Niedojadło M.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 4: Historia Sztuki
131-146
EN
The article is an attempt to summarize the Henryk Tomaszewski’s (1914-2005) poster art in the period of the social-realism doctrine domination. The artist belongs to so called “Polish Poster School”; he created nearly 50 poster projects between 1949-1955. What draws attention is his unique method of shaping posters’ surface with the usage of painting techniques, and his interest in typography. Those features are also typical for his political posters from that period, which distinguish him among others as an artist with a distance to the social-realism doctrine.
PL
Artykuł jest próbą podsumowania plakatowej twórczości Henryka Tomaszewskiego (19142005) w latach obowiązywania doktryny realizmu socjalistycznego. Twórca należy do grona przedstawicieli tzw. "polskiej szkoły plakatu", a w swoim dorobku artystycznym posiada niemalże 50 projektów plakatów przypadających na lata 1949-1955. Szczególną uwagę zwraca jego oryginalna metoda kształtowania powierzchni plakatu z wykorzystaniem warsztatu malarskiego oraz zainteresowanie typografią. Cechy te są charakterystyczne także dla jego plakatów politycznych z tego okresu, co wyróżnia go jako twórcę mającego dystans wobec zasad narzuconej doktryny realizmu socjalistycznego.
7
Publication available in full text mode
Content available

Размова… ...сусветаў: Інтэрпрэтацыя стылеўтваральных вобразных сродкаў і арыгінальных вобразаў паэтычнага маўлення Яна Чыквіна

59%
Пісарэнка А.
Acta Albaruthenica
|
2020
|
issue 20
229-238
PL
Specyfika języka poetyckiego Jana Czykwina wyraźnie występuje na poziomie leksykalnym i fonetycznym. W przebadanych tekstach produktywnymi środkami poetyckimi są metafory (rzeczownikowe i czasownikowe) oraz epitety, które charakteryzują się różnorodnością pod względem struktury, gramatyki i nasycone są treścią autorską. Środkiem kształtującym styl jest instrumentacja głoskowa, za pomocą której autor stwarza oryginalne obrazy. W wierszu Rozmowa wszechświatów poeta korzysta z graficznych środków wyrazu. Obraz graficzny napełnia się sensem i jest łatwiejszy w odbiorze przez czytelnika, gdy samogłoski i spółgłoski nakładają się na siebie, tworząc słowa. Wtedy między wszechświatami odbywa się dialog. Język poetycki J. Czykwina stanowi całościowy system, składniki którego wzajemnie na siebie oddziałują, wyrażają indywidualne skojarzenia autora, skutkiem czego jest przekształcenie rzeczywistości w poetycki obraz przestrzeni.
BE
Спецыфіка паэтычнага маўлення Я. Чыквіна выразна выяўляецца на лексічным і фанетычным узроўнях. Прадуктыўным тропам у прааналізаваных тэкстах з’яўляюцца метафара – назоўнікавая і дзеяслоўная разнавіднасць, а таксама эпітэт; ён характарызуецца структурна-граматычнай разнастайнасцю і аўтарскім зместам. Стылеўтваральным сродкам з’яўляецца гукапіс: з яго дапамогай аўтар стварае арыгінальныя вобразы. У вершы Размова сусветаў паэт звяртаецца да сродкаў графічнай выразнасці: графічны вобраз набудзе сэнсавае напаўненне і ўспрымецца чытачом, калі галосныя і зычныя гукі накладуцца адзін на другі і ўтворацца словы, тады паміж Сусветамі адбудзецца дыялог. Паэтычнае маўленне Я. Чыквіна – цэласная сістэма, складнікі якой узаемадзейнічаюць, дэманструюць адметнасць аўтарскіх асацыяцый і ў выніку рэчаіснасць пераствараецца ў вобразную мастацкую прастору.
EN
The specific character of Yan Chikvin’s poetic speech vividly manifests itself on the lexical and phonetic levels. The productive tropes he uses in the analyzed texts are the noun-and-verb type of metaphor and epithets characterized by structural and grammatical diversity and the author’s vision. His fundamental stylistic method is euphony: the author manages to create original images with its help. In his poem Conversation of the Universes, the poet turns to the means of graphic expression: the graphic image acquires semantic content and makes its way to the reader – when vowels and consonants are superimposed on one another and words are formed, a dialogue between the Universes takes place. Yan Chikvin’s poetic speech is an integral holistic system, with its components interacting with each other, demonstrating the uniqueness of the author’s associations, and, as a result, transforming reality into a figurative artistic space.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.