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1

O emotywności językowej z Bronisławem Malinowskim w tle

100%

Barański J.

Poznańskie Studia Slawistyczne

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2015

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issue 9

191-208

EN

One of the ways of understanding linguistic emotivity is taking into account an anthropological approach. The first anthropologist who recognized the emotive aspect of language was the founding father of social anthropology Bronisław Malinowski, thus forming the foundation for future ethnolinguistics and linguistic anthropology. According to the view of these subdisciplines the role of speech cannot be defined only in terms of phonology, morphology or syntax but also in terms of semantics and pragmatics. Taking into account all the above mentioned aspects of language allows finding out basic oppositional functions of language: referential andemotive. The latter one means the impact of cultural contexts on language (eg. religious cult vs academic lecture), as well as the creative role of language that shapes the nature of communication and culture itself. Anthropological studies are followed in this respect by discussed below some approaches of linguistics, literary studies, philosophy and sociology.

2

Co można powiedzieć? Poezja konfesyjna i konfesyjność poezji

99%

Michalski P.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2011

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issue 25

165-176

EN

This essay probes Miłosz’s attitude to confessional poetry, or rather it examines his stance on confessionalism as a seemingly irremovable element of any poetic utterance. By means of such terms as decorum, the referentiality of poetic language and its usefulness, it demonstrates why Miłosz himself refrained from overtly confessional modes of poetic utterance, drawing too heavily on the poet’s own experiences, which may in turn result in blurred distinctions between biography and literature. One of the reasons why the poet so intensely disliked excessive confessionalism is its intention to describe the speaker’s emotions, while according to the Polish poet, the main task of poetry is to celebrate the dazzling beauty of the outside world, whose existence transcends and surpasses the insignifi cantly small inner world of a troubled psyche. Last but not least, the usefulness of poetry, as Miłosz understood it, is that which enables poems written in diverse countries and epochs to intensify the contemporary reader’s sense of belonging to the large family of the human race.

3

The success of Adi Nes’s "ctional photographic portraits: "gures of alterity and the utilization of memories in visual self-portraiture

86%

Bettel C.

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

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2019

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vol. 25

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issue 34

45-55

PL

Abstract. Bettel Carrie, The success of Adi Nes’s fictional photographic portraits: figures of alterity and the utilization of memories in visual self-portraiture. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 45–55. ISSN 1731-450X. DOI 10.14746/i.2019.34.03. This paper demonstrates the way an autobiographer shapes his/her identity in the creation of his/her narrative. The autobiographer’s struggle in his/her understanding of the self is sometimes evident in the work. This project focuses specifically on the work of Adi Nes, an Israeli photographer. His photographs demonstrate the ways in which he feels like an outsider in Israel, as both a member of the Sephardic community and a homosexual. His photographs are staged, and he uses figures of alterity by projecting himself into his images with the use of models, which may lead the viewer to question the referentiality, or truthfulness, of each image. While demonstrating his identity through personal experience and memories, his images are created in the context of a stratified society, demonstrating the power dynamics of the military and the different groups that reside within Israel. The paper draws on images from three series – “Boys” (2000), “Soldiers” (1994–2000) and “Prisoners” (2000).

4

Aesthetic and Methodologic Resources of Ezra Pound’s Poetry

83%

Gherasim G. C.

American, British and Canadian Studies Journal

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2012

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vol. 19

88-103

EN

The study of The Cantos, one of the most complex and difficult works belonging to literary modernism makes possible, precisely due to this observation, the exploration of a series of characteristics and dimensions of Pound’s work that have either remained in a programmatic stage or should be revisited more closely in order for their meanings to be discerned. ‘Analyticity’ and ‘scientism’ can be considered relevant characteristics of Pound’s work, with both aesthetic and methodologic meanings. The present study aims at investigating these two dimensions of Pound’s poetry as they appear in the second and the fourth decades of the 20th century. In conclusion the question is whether Pound’s analyticity and scientism could still be considered valuable from an aesthetic or methodologic point of view.

5

Fotografia pierwszego stopnia – o niemożliwości powrotu do źródła. Na przykładzie Mercedesa-Benza Pawła Huellego

83%

Osińska O.

Przegląd Humanistyczny

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2019

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vol. 63(4 (467))

63-76

PL

The article compares two memoirs about family’s histories from 2001: In the Garden of Memory by Joanna Olczak-Ronikier and Mercedes-Benz by Paweł Huelle, in which photographs play an important role: In the Garden of Memory by Joanna Olczak-Ronikier and Mercedes-Benz by Paweł Huelle. While in the former, more old-fashioned family’s biography, the function of photos is to prove the trustworthiness (referentiality) of the narrative, in the latter, which is rather an autofictional novel, reading photos becomes a starting point for blurring non-fiction biography with fictional Dichtung. The aim of the study on Mercedes-Benz’study carried out by the author of this article is to outline the concept of the photography in the first degree. That is also why the mise en abyme and the postmemory are contextually recalled.

6

Rozwój fikcjonalności

67%

Gallagher C., Górski T.

Pamiętnik Literacki

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2023

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vol. 114

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issue 2

5-28

PL

W swoim artykule autorka koncentruje się na fikcyjności w powieści, problemie, który wzbudzał zainteresowanie badaczy i pisarzy od czasu, kiedy powstały pierwsze teksty narracyjne, a powieść ukształtowała się jako gatunek literacki. Odnosząc się do przykładów zaczerpniętych z wielu literatur (głównie amerykańskiej, lecz także angielskiej, francuskiej i rosyjskiej), badaczka śledzi sposoby, w jaki rozumiano narrację, analizuje rozmaite podejścia do takich zagadnień, jak (nie)prawdopodobieństwo, fałszerstwo, wydarzenia nierzeczywiste oraz nazwy własne w utworze fikcyjnym. Ponieważ skupia się w swoich obserwacjach na czytelniku, odnosi się też do pojęcia efektu emocjonalnego i zawieszenia niewiary (w rozumieniu Samuela Coleridge’a), aby pokazać związek między postacią fikcyjną a czytelnikiem. Przekonująco dowodzi, że rozwój XVIII-wiecznej literatury oznaczał również wzmożony rozwój fikcyjności, ponieważ czytelnicy w tym czasie byli już w dużym stopniu świadomi tego, że utwór fikcyjny jest niereferencyjny i nie odnosi się do żadnej osoby, sytuacji ani miejsca istniejących w rzeczywistości.

EN

Gallagher’s focus of interest in the paper is fictionality in the novel – the issue that has been troubling scholars and novel writers from the moment the first narratives were issued and the novelistic form took its shape as a literary genre. Referring to examples from various literatures (mainly American, but also English, French, and Russian), the researcher traces the modes in which narration was conceived, examines the changing concept of referentiality, scrutinises the various approaches to the (in)credible, falsehood, imaginary events, and proper names in a fictional composition. Since her observations in majority are reader-oriented, she refers to the concept of emotional effect and the suspension of disbelief (in Samuel Coleridge’s view) to observe the relationship between the fictional character and the public. Gallagher convincingly proves that the development of 18th-century literature mirrors a rise of fictionality since readers of that time became increasingly familiarised with the notion of fiction that is non-referential and detached from real-world figures, places, and circumstances.

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1 American, British and Canadian Studies Journal

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

1 Pamiętnik Literacki

1 Poznańskie Studia Slawistyczne

1 Przegląd Humanistyczny

1 Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

1 2023

1 2020

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2 2012

1 Barański J.

1 Bettel C.

1 Gallagher C.

1 Gherasim G. C.

1 Górski T.