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Złote czasy radia. Edukacyjne i wychowawcze funkcje radiowych audycji umuzykalniających

100%
Forecka-Waśko K.
Kultura-Społeczeństwo-Edukacja
|
2016
|
vol. 10
|
issue 2
215-230
EN
The article attempts to present the specificity of radio music broadcasts as a form of didactic method used while teaching children about music. The Polish Radio music broadcasts created by Maria Wieman from 1946 to 1976 were used as a research material. The author shows the historical background in which educational radio programmes were made in Poland. The state of kindergarten education after the war and the methodology of music education is also adressed. The paper attempts to present the reconstruction of the formation of music broadcasts for children based on the literature dedicated to the subject, recordings of the broadcasts, and radio documents. The author also wanted to present the profile of Maria Wieman, the brodcast creator. Her methodological and didactic achievements played a key role in forming the modern way of thinking about music education in kindergarten.
2
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Raný a pozdní Gellner: poznámky k metrice

73%
Kolár R.
Česká literatura (Czech Literature)
|
2020
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vol. 68
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issue 3
332-355
EN
This study focuses on the poetic work of František Gellner. Its objective is to confirm or refute the assumption that Gellner’s work can be divided into two distinctive periods. By means of statistical tests it establishes the relevance of the differences between early (1894–1906) and late (1910–1914) Gellner, concluding that within the observed parameters (the proportion of binary and trinary metres; iambs and trochees; fourfoot and five-foot iambs; monosyllabic and polysyllabic iambic incipits; verses with and without enjambement; strophic and non-strophic poems; four-verse and twoverse strophes; alternating and couplet rhymes), statistically significant differences are identified. The difference in his first work Po nás ať přijde potopa! (After us the Flood!) and its inclination towards 1890s (and Lumír) poetics was also established. Attention was also focused on the difference between Gellner’s poems included in his collections and those that remained in journal publication form (triple metres as a factor supporting the inclusion of a poem in a book publication), as well as the specific nature of the epic verses (more polysyllabic incipits, more enjambement). In several places the metric similarity was pointed out between specific poems and poems by other authors (Otokar Březina, Svatopluk Čech, Josef Svatopluk Machar, Jan Neruda and Jaroslav Vrchlický).
3
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Fragment tekstu Gilberta z Poitiers na oprawie z pergaminu makulaturowego w zbiorach Biblioteki Kórnickiej

73%
Jasiński T.
Pamiętnik Biblioteki Kórnickiej
|
2021
|
issue 38
21-36
EN
The Kórnik Library holds many early printed books from the former church of the Unity of the Brethren in Leszno, including an adligat, i.e. a volume combining three works: one by John Calvin and two by Matthias Flacius. This artefact was bound in recycled parchment inscribed with text by an eminent philosopher/scholastic logician, Gilbert de la Porrée; it is a fragment of Commentarius ad Epistolas S. Pauli. The author of the article compares the text of the Commentary from the parchment cover to other hand-written copies of this work. On the sidelines of reflections concerning the authorship of the treatises attributed to Gilbert, he points out that the research in this scope has not yet taken into account an analysis of the rhythmics. The text which survived on the cover has the form of rhythmic prose – a different one than that in one of Gilbert’s letters.
PL
W Bibliotece Kórnickiej przechowywanych jest wiele starodruków z dawnego zboru braci czeskich w Lesznie, a wśród nich adligat, czyli „klocek”, łączący w całość trzy dzieła: jedno Jana Kalwina oraz dwa Macieja Flaciusa. Druk ten oprawiony został pergaminem makulaturowym, zapisanym tekstem wybitnego filozofa-scholastyka Gilberta z Poitiers; jest to fragment Commentarius ad Epistolas S. Pauli. Autor artykułu porównuje tekst Komentarza z okładki pergaminowej z innymi rękopiśmiennymi egzemplarzami tego dzieła. Na marginesie rozważań o autorstwie traktatów przypisywanych Gilbertowi zwraca uwagę, że dotychczas w tych badaniach nie sięgnięto do analizy rytmiki. Zachowany na okładce tekst został napisany prozą rytmiczną, inną niż jeden z listów Gilberta.
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