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BÔMOLOCHOS IN ARISTOPHANEAN COMEDY

100%
Borowski Y., Zakład Literatury Greckiej i Kultury Śródziemnomorskiej W. F., Yvonne Borowski – mgr Z. L. G. i. K. Ś.
Collectanea Philologica
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2013
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vol. 16
DE
Dieser Artikel diskutiert die Rolle des Narren in den vollständig erhaltenen Werken des Aristophanes. Zu Beginn wird die Bedeutung des Begriffes „bômolochus“ analysiert, um daraufhin die Charakteristika einer solchen Person herauszuarbeiten. Anschließend erfolgt die Untersuchung der in den Komödien des Aristophanes auftauchenden Narren, die in zwei Kategorien eingeteilt sind: (1.) der Narr in der Nebenrolle und (2.) der närrische Protagonist. Neben den für einen Narren typischen Techniken der Komik, spielt die Obszönität eine wichtige Rolle. Die Hauptaufgabe des Narren in den Werken von Aristophanes ist es, eine derbe Form des Humors zu kreieren.
2

COVID-19 tingitud folkloristlikud reaktsioonid Valgevenes

88%
Valodzina T., Marmysh T.
Mäetagused
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2021
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vol. 79
35-54
EN
The article gives an overview of the folk culture mechanisms that helped to cope with the pandemic situation in Belorussia during the first wave of COVID-19 (until midsummer 2020). The article is based on the qualitative analysis of interview texts related to the pandemic as well as the content of internet users’ visual reactions (memes, poems, proverbs). In folk culture the mechanisms helping to overcome the crisis situation often have a ritual-magical nature. When describing the influence of the pandemic on some practices, the authors conclude that their performing in the crisis situation was especially important for the community. One of the ancient rituals activated for preventing the epidemic was the creation of a magic circle around the village by conducting a procession around the village with a ritual towel (‘rushnik-abydzionnik’), which had to be made within one day. On March 28, this one-day-ritual was performed in Minsk with the greatest possible adherence to tradition. The initiators and participants of the practice were mainly representatives of the Students Ethnographic Society. Not all women present knew how to spin or weave, but some of the simplest operations were mastered. The towel was carried around Minsk and brought to a stone on the site of a pagan temple in the centre of Minsk at the sunset. The towel was tied around the stone, and the latter was also covered with threads spun on the same day. The ritual relieved the tension of the participants and fostered awareness of their solidarity, strengthening collective networks, and the feeling of empathy and unity. COVID-19 also affected the living traditions in Belarus. Some traditional practices were cancelled or postponed. The spread of the pandemic created a negative backdrop for living traditions. However, a number of rites and ceremonies were carried out despite the pandemic in accordance with their spatial and temporal reference. Due to the difficult epidemiological situation, the usual order of ceremonies was changed – their duration was reduced without changing the traditional rite structure. Only local residents participated in the rituals; although, formerly, many journalists and tourists had come to the villages from different parts of the country on the days of the ceremonies. For tradition bearers, such practices during a pandemic are a way to relieve stress and to share problems with people with similar interests. Traditions are one of the constants of their life; maintaining them in times of crises stabilizes the community. The coronavirus pandemic has caused a powerful explosion of folk art. The texts of various genres, both oral and written (graphic), are rapidly spreading on the Internet. A large number of them are based on the traditional worldview of Belarusians and are expressed in traditional forms (alterations, ditties, anecdotes, anti-sayings, paroemias, etc.). The role of humour has grown tremendously. Jokes and laughter in the face of an external threat are a compensatory mechanism that helps to overcome fear and uncertainty, and common laughter unites and helps to learn new rules of behaviour. Humour is not concerned with the threat of getting ill, but rather individual hygiene practices, the situation of quarantine, and circumstances of the new reality. Thus, humorous folklore becomes a way to adapt to new norms and to overcome fear and instability.
3

„Śmiech” w poematach Norwida

88%
Korpysz T.
Pamiętnik Literacki
|
2021
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vol. 112
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issue 3
91-106
PL
W artykule oglądowi poddano rodzinę słowotwórczą śmiechu w poematach Cypriana Norwida. Tworzy ją 10 leksemów: naśmiać się, pośmiewać, pośmiewisko, rozśmiać się, śmiać się, śmiech, śmieszny, wyśmiewać się, wyśmiewany i zaśmiać się, użytych łącznie 43 razy. Jedynie w części owych użyć wymienione wyrazy wiążą się z szeroko rozumianą kategorią komizmu czy radości. Nawet wówczas jednak śmiech i śmianie się stosunkowo rzadko mają charakter czysto ludyczny i są waloryzowane dodatnio. Znacznie częściej ten, kto się śmieje, jest oceniany negatywnie ze względu na to, że jego wypowiedzi i zachowania okazują się skierowane przeciwko komuś lub czemuś, stanowią przejaw naznaczonego wyższością agresywnego stosunku wobec drugiego człowieka albo też jakichś fenomenów czy zdarzeń, a samo śmianie się bywa zachowaniem nieautentycznym bądź sygnałem emocji i postaw negatywnych. W użyciach przymiotnikowych aspekt ludyczny albo w ogóle nie istnieje, albo też jest wyraźnie drugoplanowy, a leksemowi śmieszny zazwyczaj można przypisać znaczenie ‘dziwny, dziwaczny, zaskakujący’ i/lub ‘błahy, niezasługujący na uwagę’.
EN
The paper offers an insight into a family of a root word śmiech (laugh) in Cyprian Norwid’s poems. The family is composed of 10 lexemes, namely naśmiać się (have a good laugh), pośmiewać (spend some time laughing), pośmiewisko (laughing stock), rozśmiać się (make laugh), śmiać się ( laugh), śmiech (laughter), śmieszny (laughable), wyśmiewać się (laugh somebody sick), wyśmiewany (laughed) and zaśmiać się (give a laugh), used 43 times in total. In only a part of their uses, the words above refer to a broadly understood category of the comic or joy, but even in such instances laugh and laughing have only occasionally purely ludic character and are positive. Much more often the one who laughs is given negative values since their statements and behaviours prove to be against someone or something, they manifest aggressive and marked by superiority attitude towards the other person or certain wonders or occurrences, while laughing as such tends to be either non-authentic behaviour or a signal of negative emotions or stances. In their uses as adjectives, the ludic aspect is either absent or markedly of secondary importance, and the lexeme śmieszny (laughable) oftentimes is assigned the meaning ‘weird, bizarre, surprising’ and/or ‘trivial, not worthy of attention.’
4
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Humor w walce z pandemią koronawirusa

88%
Mielcarek M.
Studia Edukacyjne
|
2021
|
issue 63
121-132
EN
The aim of the article was to analyze humorous content that relates to the COVID-19 pandemic of SARS-CoV-2. The main part of the text was preceded by an analysis of the literature on the subject of the meaning of humor in human life, including coping with it in difficult situations. When proceeding to the implementation of the presented article, the slogan “# stay at home” was followed. Therefore, to achieve this goal, online resources were used. The literature on the subject was searched using the popular scientific search engine Google Scholar, while humorous content related to the coronavirus was obtained through social and information portals. The subject matter is close to its author because he himself struggled with coronavirus infection and humor no doubt helped survive the hard moments.
5
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„Beka z nienormalsów”, czyli satyryczny obraz niepełnosprawnych w kulturze masowej

76%
Grzybowski P. P.
Interdyscyplinarne Konteksty Pedagogiki Specjalnej
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2014
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issue 6
9-32
EN
In most societies disabled people are subject to taboo, in terms of laughing at their weaknesses, failures, inadequacies and differnt situations connected with their disability. However, they are becoming a more frequent ligtsome topic of different forms in mass culture (from television to the Internet) – interesting especially when they laugh at themselves. The article deals with the situations of laughing at Other in this context together with the examples of films, shows and educational projects.   
PL
In most societies disabled people are subject to taboo, in terms of laughing at their weaknesses, failures, inadequacies and differnt situations connected with their disability. However, they are becoming a more frequent ligtsome topic of different forms in mass culture (from television to the Internet) – interesting especially when they laugh at themselves. The article deals with the situations of laughing at Other in this context together with the examples of films, shows and educational projects.
6
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Patch Adams. Od poczucia nierówności po rewolucję miłości w medycynie i edukacji

63%
Grzybowski P. P.
Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN
|
2015
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vol. 2
PL
Artykuł zawiera charakterystykę sylwetki oraz wybór wypowiedzi Patcha Adamsa (światowej sławy lekarza, wychowawcy i filantropa), dotyczących współczesnych problemów społecznych, m.in. nierówności w dostępie do dóbr, opieki medycznej i edukacji; oddziaływania telewizji na widzów; relacji personelu medycznego z pacjentami. W wypowiedziach tych Patch jawi się jako kontrowersyjny, aktywny działacz społeczny, opierający się na idei rewolucji miłości i filozofii miłości, drogą do których ma być edukacja.
EN
The article contains the characteristics of the figure and the choice of utterances of Patch Adams (world-renowned physician, educator and philanthropist) on contemporary social problems, including inequalities in access to goods, medical care and education; the impact of television on viewers; medical personnel relationships with patients. In his statements, Patch is seen as controversial, social activist, whose views are based on the idea of revolution of love and philosophy of love, the way to which should be education.
7

Karnawalizacja śmierci w literaturze rosyjskiej lat trzydziestych XX wieku

63%
Kotkiewicz A.
Slavica Wratislaviensia
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2018
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vol. 167
339-348
EN
The carnivalesque of the death in the Russian literature of the 1930s Russian literature in the 30s of the 20th century developed within the totalitarian sphere, recording and mirroring the horror of the Stalinist reality. The impossibility of a direct expression of one’s own pain and grieving over death which was often associated with a sudden disappearance and a necessity to erase the beloved from one’s memory guided the artists’ attention towards new forms of expression. The works which represent a variety of genres and styles, such as Nikolai Erdman’s drama The Suicide, Daniil Kharms’s novel The Old Woman, as well as The Blue Book of Mikhail Zoshchenko, can be seen as examples of the use of carnivalesque which I understand as a defence strategy towards the omnipresent experience of death. I analysed the following features of carnivalesque: satire, grotesque, “black humour”, absurd, laughter, which are used in the above mentioned works.
RU
Карнавализация смерти в русской литературе30-х годов XX века Во многих произведениях русской литературы 30-х годов XX века, возникших вне эстетики соцреализма, кошмар отождествляется с тоталитарной действительностью. Невозможность непосредственно выразить страдание и оплакать смерть близких направляла писателей к поискам новых форм их передачи. Такие отличающиеся друг от друга по жанровым и стилистическим особенностям произведения, как драма Самоубийца Николая Эрдмана, повесть Старуха Даниила Хармса, а также Голубая книга Михаила Зощенко, являются примерами карнавализации, которая воспринимается как защитная стратегия по отношению к смерти. В данной статье анализу подвергаются следующие приемы карнавализации: сатира, гротеск, черный юмор, абсурд и смех, характерные для выше упомянутых произведений.
8
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«Вечные темы» в юмористических рассказах Аркадия Аверченко

63%
Polakowska E.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
|
2018
|
issue 8
107-114
EN
The paper describes the early period of Averchenko’s work. His stories were based on hilarious topics, humour and caricatures. The writer used all this means of expression very freely, easily, with a gentle tact and power of conviction, and what is even more important, with humour and wittily. During this period, he chose topics focused on a common big city life, stories of ordinary people, “new” trends in art, always up-to-date topic of man and woman, as well as relations between fathers and their children. Showing the portrait of a common citizen, the satirists laughed at defects of the contemporary world. This is how the particular humour Averchenko’s manifested.
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