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Arbesovo romaneto Sivooký démon a Urbanova novela Michaela (Literárněteoretická komparace s ohledem k žánrovému profilu)

100%

Změlík R.

Studia Slavica

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2013

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vol. 17

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issue 2

141-152

EN

The article discusses two mystery novellas: The Grey-Eyed Demon by Jakub Arbes (1840–1914) and Michaela by Miloš Urban (b. 1967). Although the gap between the two texts is more than 130 years, a common influence of gothic novel is discernible in both of them. Each of the works, however, adapts this influence in different cultural and literary contexts. Arbes entered the world of Czech literature in the 1860s and his ambition was to create a genre of prose narrative that would be able to absorb both the techniques of high literature and the elements of popular reading. By achieving this, he wanted to create a modern literary genre. The Grey-Eyed Demon is an exemplary case of such an encounter. In this text, Arbes makes use of the devices of gothic fiction, whose romantic itinerary, however, the author tries to transform into a realistic mode of representation. Theencounter of two different sets of artistic techniques and principles in this romanetto, however, is not without some difficulties, represented by striking „seams“ that are discernible especially on the thematic and narrative levels. It is not without interest that, in the same year, Arbes published an important romanetto, entitled Saint Xaverius, in which these dividing lines are not as obvious – indeed, Saint Xaverius is one of the peaks of Arbes’s oeuvre. Urban’s novella is a different case of contextualisation of gothic fiction. Urban makes use of the genre’s devices in post-modern fiction, in which they serve an entirely different purpose. In this case, it is an indexical reference (thematisation) to an older genre, which had lost its direct lineage in literature. This reference takes place within a post-modern tendency, which might be understood as discourse overlapping, a palimpsest-like quality, a semantic game based on re-contextualisation of historicising themes, motifs and other elements.

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Jednorožec medzi médiami: cirkevné časopisy sa svojimi špecifikami vymykajú z bežného žurnalistického sveta. Žánrové porovnanie sekulárnych a cirkevných týždenníkov

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Psárová M., Lettrich M., Rončáková T.

Studia theologica

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2020

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vol. 2

161-177

EN

The study is presenting and interpreting comparative genre analysis, based on the sample of 1.242 articles in six Slovak weeklies (four secular and two Church ones). It is working with an update genre classification elaborated by T. Rončáková. Besides the distribution of genres themselves the study follows presence of the author’s opinion, presence of the author’s subject (represented by the 1st verb-person) and presence of the hidden advertisement. The essential results are: style overlapping (journalistic style in Church periodicals is contaminated by administrative, science, art and rhetoric style); weakened author’s opinion, strengthened subjectivity and also absence of core journalistic genres. The authors conclude, that the Church magazines remain in the half-way between tabloid and elite press, accept, to a large extent, their service character and give any evidence of ambitions in the field of stylistic skills and journalistic (opinion) approach to the social process. Because of this all the Church periodicals present a very specific segment within the press system (or media system in general) and their journalistic character could be impugnable.

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Pourquoi les théories discursives peuvent avoir du mal à entrer en classe de langue(s) étrangère(s)

87%

Gajewska E.

Studia Romanica Posnaniensia

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2017

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vol. 44

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issue 2

11-26

EN

The fact that verbal expression is subject to both language and social norms is indisputable. However, the advances of discursive theories are slow to be integrated into didactic practice in a systematic way. The article attempts to identify reasons underlying such a state of affairs. It is argued here that the overabundance of reference theories and the different scientific traditions lead to the fragmentation of the object of the study and create false terminological friends. The use of units of conceptualization and analysis of discourse, such as the genre or type of discourse, sometimes poses problems in didactic practice. Finally, discursive norms evolve continuously, often creating hybrid forms. One of the solutions to the above-mentioned problems, proposed in this article, is to make learners aware of discursive phenomena rather than try to provide ready-made solutions.

4

Dziewczyny, które gryzą. „Córki Dancingu” jako kino buntu

75%

Jagielski S.

Kwartalnik Filmowy

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2017

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issue 100 O świętowaniu

126-144

PL

W „Córkach Dancingu” (2015) Agnieszki Smoczyńskiej bohaterki-syreny samą swoją obecnością naruszają obowiązujący – patriarchalny i heteronormatywny – porządek społeczny. Ów film to kino wielkiej odmowy, przykład feministycznego i queerowego kontrkina, które każe nam spojrzeć na rzeczywistość przez pryzmat potworów i niesie ze sobą obietnicę innego życia, porządku i pragnienia. Jagielski sytuuje film Smoczyńskiej w kontekście, po pierwsze, kampowej estetyki oraz cielesnych i abiektalnych gatunków (horroru, musicalu i melodramatu), po drugie zaś – negatywnych afektów: niespełnionej miłości, smutku, depresji, żalu, utraty czy gniewu. Koncentruje się on na obrazach potwornych, pokawałkowanych ciał oraz sadomasochistycznych, melodramatycznych i muzycznych performance’ów. „Wsteczność” – kampowa estetyka, abiektalne ciała, „słabe” afekty, niemodne artefakty – prowadzi widzów „Córek Dancingu”, jak dowodzi autor, w stronę utopii, nadziei i przyszłości.

EN

In Agnieszka Smoczyńska’s “The Lure” (“Córki Dancingu”, 2015) the siren heroines, by their very presence, violate the dominating – patriarchal and heteronormative – social order. This film is a cinema of great refusal, an example of a feminist and queer counter-cinema, which makes us look at reality through the prism of monsters and brings with it the promise of a different life, order and desire. Jagielski situates Smoczyńska’s film in the context of, firstly, camp aesthetics and bodily and abject genres (horror, musical and melodrama), and second – negative affects: unrequited love, sadness, depression, grief, loss or anger. He focuses on images of monstrous, fragmented bodies and sadomasochistic, melodramatic and musical performances. “Backwardness” – camp aesthetics, abnormal bodies, “weak” affects, unfashionable artefacts – lead the viewers of “The Lure”, as the author shows, towards utopia, hope and the future.

5

Determinants of the Content and Creation of Modern Television Series. Selected Issues

75%

Arcimowicz K.

Creativity. Theories – Research - Applications

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2016

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vol. 3

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issue 1

104-117

EN

The aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.

6

Problems and challenges in teaching and learning speaking at advanced level

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Aleksandrzak M.

Glottodidactica

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2011

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vol. 37

37-48

PL

The article deals with the problems of teaching and learning speaking, in particular those which are most relevant in the context of developing oral skills at the advanced level of foreign language proficiency. The complex nature of spoken discourse must be taken into account and reflected at each stage of the learning process. Thus, the article examines the difficulties connected with choosing the appropriate framework and approach and discusses the typical patterns of interaction in the foreign language classroom. It also examines forms of control and evaluation and suggests some speaking activities which seem most suitable for advanced language learners in the light of the above theoretical considerations.

7

Liberatura, literatura i książka artystyczna: kontekst, treść i istotne znaczenie materiału

63%

Bodman S.

ER(R)GO: Teoria – Literatura – Kultura

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2016

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issue 32

EN

Revolving around the concept of the so-called artist’s book, the article compares liberary works with the artist’s books created by several authors. Sarah Bodman analyses the artistic creations of three main book-artists: the American authors Sally Alatalo and John McDowall, and Elisabeth Tonnard from the Netherlands. The main similarity between liberary works and the artist’s books is discovered in the physical side of the two, particularly in the meticulous designing and careful publishing of the work, which takes into consideration the size, material and appearance of the work envisaged by its author. Bodman indicates the distinction between liberature and the artist’s books in the different main foci of the two. According to her, book-artists focus on the book as an object of artistic value where every other element, including the text, is subordinate to the book-format while liberary authors create works which are primarily literary and textual in their essence.

PL

Niniejszy artykuł porównuje dzieła liberackie z książkami artystycznymi wybranych autorów, oscylując właśnie wokół pojęcia tzw. książki artystycznej. Sarah Bodnam analizuje artystyczne wytwory trzech głównych autorów tego gatunku: amerykańskich autorów Sally Alatalo i Johna McDowalla oraz holenderki Elisabeth Tonnard. Główne podobieństwo między obiemy kategoriami możemy odnaleźć w ich fizycznym nośników, a w szczególności w tym, z jaką dbałością o szczegóły i uważnością są owe dzieła publikowane realizując namysł autora nad rozmiarem, fizycznym wyglądem książki, a także materiałem, z jakiego jest wykonana. Bodman zaznacza, że różnicy między liberaturą a książką artystyczną należy szukać gdzie indziej. Jak twierdzi, autorzy tych drugich skupiają się na książce jako przedmiocie artystycznym, gdzie każdy pozostały element, wliczając w to sam tekst, jest podporządkowany formatowi książki; w odróżnieniu do nich, liberaci tworzą dzieła, których najważniejszym komponentem mimo wszystko wciąż pozostaje tekst i literackość.

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„Rozmowa z…” filozofem. Z problemów tekstualizacji własnej biografii (Kołakowski – Skarga – Bauman)

51%

Hull L.

Prace Językoznawcze

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2014

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issue 16/2

21-34

EN

The publishing expansion of books that are based on conversations has forced the necessity to broaden the theoretical reflection and to specify their location within “the literature of personal document” in the recent decades. There have been some terminological problems at the starting point of the theoretical-literary attempts of recognition. Recently, there have been appearing such terms as “a conversation with...”, “an interlocutory text” or “a spoken book” as genre description. The separation of the particular variety of ”conversations with…” in the area of such texts seems to be reasonable, because the forerunners of dialogism should be been seen in the convention that dates back to Plato and Socrates. Discourse, dispute and confrontation remain the superior and inalienable feature of philosophical thinking and the structural formula of expression. The names of Kołakowski, Skarga and Bauman are connected with their profession, the membership of a particular intellectual and generational formation, even though they represent varied schools and directions of philosophical exploration. In each of these cases, the consent on the interview and its publication was associated with the awareness of the risk of biographical unveiling, as well as falling outside the native language of philosophical discourse and directing towards “the literary quality”. In the readership reception these books have become the important complement of philosophical content, the enrichment with the personalized perspective.

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Refleksy na powierzchni klosza. Otwórczości filmowej Kornela Filipowicza

51%

Lipowski W.

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

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2009

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vol. 7

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issue 13-14

308-313

EN

This is an overall review of little-knownpart of artistic creation of Kornel Filipowicz(1913–1990), writer of short stories, novels,scenarios, but also a poet. This reassessment isbased on his scenarios, which were created incollaboration with the film director StanisławRóżewicz and his brother, the poet Tadeusz.Informal company formed jointly created tenscenarios completed, Filipowicz participatedin the implementation of five titles. The textsdiscussed in the article mark the major stagesin the development of Filipowicz’s writingtechnique, illustrate his imaginative use ofvarious points of view and of various genresin the construction of film story, and exemplifythe wide range of his themes and interests.The article draws also the unpublished screenplaywritten by Kornel Filipowicz andStanisław Różewicz Sunset.

PL

Reflections on the surface of the lampshade. The film works of Kornel FilipowiczThis is an overall review of little-knownpart of artistic creation of Kornel Filipowicz(1913–1990), writer of short stories, novels,scenarios, but also a poet. This reassessment isbased on his scenarios, which were created incollaboration with the film director StanisławRóżewicz and his brother, the poet Tadeusz.Informal company formed jointly created tenscenarios completed, Filipowicz participatedin the implementation of five titles. The textsdiscussed in the article mark the major stagesin the development of Filipowicz’s writingtechnique, illustrate his imaginative use ofvarious points of view and of various genresin the construction of film story, and exemplifythe wide range of his themes and interests.The article draws also the unpublished screenplaywritten by Kornel Filipowicz andStanisław Różewicz Sunset.

10

Übersetzung von fiktionaler und nichtfiktionaler Prosa. Untersucht an polnisch-deutschen und polnisch-englischen Translationsfällen

45%

Schultze B.

Convivium. Germanistisches Jahrbuch Polen

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2008

195-219

PL

Specyficzne wymagania translatoryczne przy tłumaczeniu prozy fikcjonalnej z jednej i prozy niefikcjonalnej z drugiej strony łączą się z różnorodnym stanem obydwu form narracji: w narracji fikcjonalnej przede wszystkim trzeba zwracać uwagę na wybrany przez autora gatunek narracyjny, tendencje i kody danej epoki, może i styl autorski; w wypadku narracji „faktualnej“ (MARTINEZ / SCHEFFEL 2005) zaś, gatunek niefikcjonalny jak i – z reguły celowy – na specjalną uwagę zasługuje sposób traktowania faktów. Obydwa wybrane dla analiz porównawczych przykłady powstały w latach 1950: prozę fikcjonalną reprezentuje krótkie opowiadanie MARKA HŁASKI Krzyż (1956), niefikcjonalną albo półfikcjonalną zaś klasyczny pamiętnik z Gulagu GUSTAWA HERLINGA-GRUDZIŃSKIEGO, Inny świat (1951/1952).

EN

The specific translatory challenges of prose fiction, on the one hand, and nonfictional narrative, on the other hand, are connected with the different status of both these forms of narration: In prose fiction, first of all, the genre chosen by the author, the trends and codes of an epoch and, maybe, the author’s individual aesthetics have to be taken into account; in „factual“ narration (MARTINEZ / SCHEFFEL 2005), however, the nonfictional genre and also the author’s – as a rule deliberate – way of dealing with the facts tend to be especially important. Both examples chosen for a comparative analysis were written in the 1950ies: Fictional prose is represented by MAREK HŁASKO’s short narrative Krzyż (‚The Cross‘, 1956), nonfictional prose, half-fictional prose respectively, by GUSTAV HERLING-GRUDZIŃSKI’s ‚classical‘ memoirs of the Gulag, Inny świat (‚A World Apart‘, 1951/1952).

DE

Die spezifischen translatorischen Herausforderungen beim Übersetzen von fiktionaler Prosa auf der einen und nichtfiktionaler Prosa auf der anderen Seite hängen mit dem unterschiedlichen Status beider Formen der Narration zusammen: Beim fiktionalen Erzählen sind vor allem das vom Autor gewählte narrative Genre, Epochenströmungen bzw. -codes, vielleicht eine individuelle Ästhetik zu beachten; beim „faktualen“ Erzählen (MARTINEZ / SCHEFFEL 2005) ist die nichtfiktionale Textsorte sowie der – in der Regel absichtsvolle – Umgang des Autors mit dem Faktenmaterial besonders wichtig. Beide für vergleichende Analysen gewählten Beispiele sind in den 1950er Jahren entstanden: Für die fiktionale Prosa steht MAREK HŁASKOs kurze Erzählung Krzyż (‚Das Kreuz‘, 1956), für die nichtfiktionale bzw. halbfiktionale Prosa stehen GUSTAV HERLING-GRUDZIŃSKIs kanonische Memoiren aus dem Gulag, Inny świat (‚Eine andere Welt‘, 1951/1952).

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