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EN
The article is a review of the first volume of the critical edition of Norwid’s prose developed by Rościsław Skręt. The review focuses on the choice of works for editing and print, on establishing the status of source texts, determining the form of the texts for print, performing language modernization and associating the textual material with iconography. Examining the actions undertaken by the editor in all these dimensions, one can put forward a claim that his work tries to follow two contradictory editorial directions. The editor developed an innovative canon of Norwid’s prose and managed to avoid mistakes made by his predecessors. At the same time, one can observe that the editor restrained himself from departing too far from the solutions adopted by the previous editors. This latter tendency is particularly evident on the linguistic plane. Hence, one can describe the reviewed edition of the text as a half-way revolution.
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PL
DIFFERENT KAMIEŃSKA. FROM A WHITE MANUSCRIPT TO KAMIEŃSKA´S LAST POEM The article discusses the origins of one of the most renown poetic volumes by Anna Kamieńska, A White Manuscript. Today, the history of this book can be reconstructed only partially, on the basis of two poetic notebooks from 1968–1970. Reading A White Manuscript in the context of those two manuscripts makes it possible to see the metamorphoses of particular poems (e.g. blurring of the tropes leading to cycles appearing inside the volume); it also allows us to discover that at the end of the 1960s there appeared in Kamieńska’s verses motifs that became important in her later poetry. It was while the poet was working on A White Manuscript that her fully original vision of corporeality emerged, together with a poetic image which received its defi nitive shape in Kamieńska’s last poem.
EN
The article is a review of the first volume of the critical edition of Norwid’s prose developed by Rościsław Skręt. The review focuses on the choice of works for editing and print, on establishing the status of source texts, determining the form of the texts for print, performing language modernization and associating the textual material with iconography. Examining the actions undertaken by the editor in all these dimensions, one can put forward a claim that his work tries to follow two contradictory editorial directions. The editor developed an innovative canon of Norwid’s prose and managed to avoid mistakes made by his predecessors. At the same time, one can observe that the editor restrained himself from departing too far from the solutions adopted by the previous editors. This latter tendency is particularly evident on the linguistic plane. Hence, one can describe the reviewed edition of the text as a half-way revolution.
EN
The article presents an analysis of the story of the ending of two poems by Anna Kamieńska – “When the Greats Go Away” and “You are me warm young”. The literary documents known to us allow us to find a common element of these two processes, one of which consisted in the unexpected addition of a punch line to the last known handwritten version of the poem, and the other, in the final stage of work on the work, made a record from the middle of an earlier draft. This common part is the meditative, non-rhetorical nature of the writing workshop of the mature poet. If we ignore the obvious differences between the two poems and the processes from which they emerged, a strong similarity will remain, probably a feature characteristic of the way Anna Kamieńska wrote at least from the 1960s, when the creative process was for her not so much an opportunity to find the form of thought but he was thoughtborn himself.
PL
Artykuł przedstawia analizę historii zakończeń dwóch wierszy Anny Kamieńskiej – „Kiedy odchodzą wielcy” oraz „Jesteś mi ciepły młody”. Znane nam dokumenty literackie pozwalają znaleźć wspólny element tych dwóch procesów, z których jeden polegał na nieoczekiwanym dopisaniem puenty do ostatniej znanej nam wersji rękopiśmiennej wiersza, a drugi puentą uczynił w ostatnim etapie prac nad utworem zapis ze środka wcześniejszego brulionu. Tą częścią wspólną jest medytacyjny, nieretoryczny charakter warsztatu pisarskiego dojrzałej poetki. Jeśli pominąć oczywiste różnicy między obiema wierszami i procesami, z których się wyłoniły, pozostanie silne podobieństwo, prawdopodobnie cecha charakterystyczna dla sposobu, w jaki pisała Anna Kamieńska przynajmniej od lat sześćdziesiątych minionego wieku, gdy proces twórczy był dla niej nie tyle okazją do znalezienia formy myśli, ale sam był myślorodny.
EN
The article is a review of the first volume of the critical edition of Norwid’s prose developed by Rościsław Skręt. The review focuses on the choice of works for editing and print, on establishing the status of source texts, determining the form of the texts for print, performing language modernization and associating the textual material with iconography. Examining the actions undertaken by the editor in all these dimensions, one can put forward a claim that his work tries to follow two contradictory editorial directions. The editor developed an innovative canon of Norwid’s prose and managed to avoid mistakes made by his predecessors. At the same time, one can observe that the editor restrained himself from departing too far from the solutions adopted by the previous editors. This latter tendency is particularly evident on the linguistic plane. Hence, one can describe the reviewed edition of the text as a half-way revolution.
PL
This is a previously unpublished fragment of the work of Duke Adam Jerzy Czartoryski. It concerns the earliest, legendary period in the history of Lithuania. This fragment belongs to a bigger whole. The whole work will soon be published as Wstęp do historii litewskiej [An Outline of Lithuanian History] in the series entitled “Klasycy Polskiej Nowoczesności” [“Classics of Polish Modernity”]
PL
Prezentowany artykuł dotyczy ewaluacji transdyscyplinarnego studium łączącego badaczy z dwóch różnych dyscyplin: psychologii oraz literaturoznawstwa. Zespół pracujący nad tym projektem analizował wypowiedzi osób dorosłych o ich życiu zgodnie z metodą analizy literaturoznawczej. Na etapie interpretacji wykorzystywano autorską metodę badań jakościowych w psychologii. Efekt tych badań został poddany recenzji przez psychologa, który zadeklarował, że artykuł ocenił zgodnie z zasadami oceny badań psychologicznych. W artykule prezentujemy pola nieporozumień, które rodzą się w relacji między tak skonstruowanym badaniem, a tak zaprojektowaną recenzją. Wskazujemy główne zasady, które – naszym zdaniem – powinny towarzyszyć recenzentom badań o charakterze transdyscyplinarnym.
EN
The presented article concerns the evaluation of a transdisciplinary study carried out by researchers from two different disciplines: psychology and literary studies. The team working on this project analyzed adults’ narrations about their lives, applying the method of literary study analysis. At the stage of interpretation we used an original method of qualitative research in psychology. The effect of this research was subject to review by a psychologist, who declared that our article had been rated in accordance with the principles of psychological research assessment. This article presents the areas of misunderstanding which result from the relationship between a study and a review constructed in the aforementioned respective manners. We point out the main principles, which, in our opinion, should accompany people reviewing studies of a transdisciplinary nature.
EN
What narrative patterns do young adults apply when they relate stories about their lives? How do they perceive their lives? Finding the answers to these questions was the aim of the research described in this article. The study involved fourteen people aged 26–35, who talked about their lives in the form of a monologue. They were asked to speak on the subject: „Tell me about the last few years of your life”. The results of the thematised information analysis suggest that their narrations resemble autopresentations included in a CV or an application letter. The results of the implied information analysis point to the illusory character of what is said explicitly. The reconstructed hidden stories do not confirm the presented stories about successful life.
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