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Przywództwo – aspekty etyczne

100%
Karaszewski R.
Prakseologia
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2011
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issue 151
85-101
EN
Today, as never before, the aspects of ethical leadership are the subject of special attention. Appearing almost daily about the next scandals both in politics and business, often undermining the reputation of people endowed with social trust, cause the need to take a broad discussion on building a solid foundation of ethics. The purpose of the boards of both corporations and state and local authorities is the creation of rules and canons, which are likely to be accepted only if the leaders of their conduct manifested a clear subordination of established canons. Ethical aspects in the problems of leadership, play an extremely important role. Increased interest in the scientific problem of moral conduct, the canons of construction principles, promote the diffusion of positive attitudes within the organization should be regarded as a ray of hope in the permeated pathologies, corruption and nepotism today’s grim reality. In the following paper author will address some specifi c views showing the essence of ethics in relation to leadership.
2
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Lat. servus ‘Diener, Sklave’, slav. *orbъ ‘Sklave, Waise, Kind’, slav. *sirota ‘Waise’

100%
Levickij V.
Studia Etymologica Cracoviensia
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2013
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vol. 18
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issue 2
83-90
EN
The oldest names for ‘slave’ in Indo-European languages are connected with the notions ‘captive’, ‘prisoner’, ‘tied’. Taking into consideration this typology we can assume that Lat. servus ‘servant, slave’ might go back to PIE *ser- ‘to tie, to bind’. PIE *or-bho-s, to which Proto-Slav. *orbъ ‘slave, child, orphan’ goes back, may have been formed from *er-/or- ‘to cut, to separate’ > ‘orphan’. The Proto-Slav. word *sirota ‘orphan’ may also have been formed after this pattern.
3
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Bohaterowie drugiego planu – o postaciach służących w operze

84%
Sokalska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
207-228
EN
The article is devoted to the characters of servants in opera and their two radically different variants: a clever servant and a nursemaid. The first variant, rooted in the ancient tradition, becomes more independent with time, and these characters become fully-fledged and sometimes even turn into main characters (e.g. Figaro or Leporello.) The other variant is rooted in the Baroque, when nursemaids were treated, similarly to clever servants, as comic characters. The evolution of the character of a nursemaid in opera turns towards realism, fabulousness and highlighting archetypal features, which can be seen in the examples taken mainly from the Russian operatic tradition. Both types of servants in opera show that despite their socially secondary meaning, these characters serve important functions and become key for the interpretation of a particular scene as a whole.
4
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Benedetto da Norcia „uomo di Dio” e „servo dell’uomo”

84%
Amata B.
Vox Patrum
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2006
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vol. 49
47-58
EN
BRAK
5
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Les dames et leurs bonnes: trois modèles interactionnels chez les Goncourt, Zola et Maupassant

84%
Kaczmarek-Wiśniewska A.
Cahiers ERTA
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2023
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issue 35
45-60
EN
It would be difficult to imagine a Realistic or Naturalistic novel without the character of a servant, the most frequently a female one. Actually, in the 19th century, the servant becomes much more visible and important, raising sometimes into the position of the main character. The Goncourt’s Herminie Lacerteux, Zola’s The Kill and Maupassants’s A Woman’s Life depict three servants whose destiny is strictly connected to their mistress’ life ; they all have a huge influence on what becomes of the three ladies. The paper aims to examine the three models of interaction of servants and their mistresses so as to prove the importance of the servant in the « human document » created by the writers.
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