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Polityka pamięci a sprawa polska Między nami dobrze jest Doroty Masłowskiej

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Gębala A.
Śląskie Studia Polonistyczne
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2017
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vol. 9
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issue 1
329-351
EN
The author refers to Memory Studies and analyzes the way in which Dorota Masłowska depicts Polish society that took part in the democratic transition 1989–1990. Masłowska puts emphasis on the mechanisms of late capitalism that shape both imaginary ideas and real social structures. The literary representation of the nation points to a community constructed not upon the tradition and history but on the simulacra produced by politically inclined discourse of media, pop culture and consumerism. This outlook offers an interesting point of departure for analyses of social and political changes (especially those following the transition in 1989 and the symbolic politics adopted in that time) mediated by literature. Levels and contexts depicted in the article represent a range of influences, relations, borrowings, persuasion and narratives that accompanied by memory work shape social and individual identities of contemporaryPoles.
2
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Jak rozpoznać pastisz (i odróżnić go od parodii)?

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Hellich A.
Zagadnienia Rodzajów Literackich
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2014
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vol. 57/114 z. 2
25-38
PL
Pastisz może być — i bywał — pojmowany na trzy rozmaite sposoby: jako gatunek, jako odmiana stylizacji oraz jako odrębna kategoria estetyczna. Z różnymi definicjami tego zjawiska wiążą się różne oceny jego walorów artystycznych. Zwracając uwagę na pewne nieścisłości w genologicznych ujęciach pastiszu (reprezentowanych tu głównie przez koncepcję Stanisława Balbusa), opowiadam się za rozpatrywaniem pastiszu na płaszczyźnie estetycznej, nie zaś stylistycznej. Nie wydaje mi się jednak słuszne definiowanie go w opozycji do parodii, co czynią Linda Hutcheon i Ryszard Nycz. Opierając się na analizach prozy Marcela Prousta i Doroty Masłowskiej, przedstawiam tezę, że pastisz i parodia są nie tyle strategiami opozycyjnymi, co raczej pokrewnymi; nierzadko wręcz trudnymi do odróżnienia.
EN
So far, pastiche has been criticized as a sign of unoriginality and epigonism of postmodern artists, marginalized as a niche, elite phenomenon and cherished as the most perfect form of contemporary art. Differences in the perception of pastiche are due to the fact that everyone defines it differently: as a genre, as a kind of stylization or as an aesthetic category. I agree that a pastiche — like a parody — should be considered as a distinct aesthetic strategy. I do not think, however, that pastiche and parody make clear and rigid opposition. Analysis of examples of literature — from Marcel Proust to Dorota Masłowska — prove that these strategies are closely related and usually occur in hand.
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Wizerunek językowy młodego pokolenia w powieści Doroty Masłowskiej Kochanie, zabiłam nasze koty jako przykład lingua frankensteinia

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Woźniak J.
In Gremium. Studia nad Historią, Kulturą i Polityką
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2017
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vol. 11
163-177
PL
Artykuł stanowi próbę ukazania wizerunku językowego młodego pokolenia oraz spojrzenia na kwestię globalizacji komunikacji językowej w powieści Doroty Masłowskiej Kochanie, zabiłam nasze koty. Celem jest zwrócenie uwagi na język powieści jako przykład lingua frankensteinia. Artykuł nie tylko prezentuje przykłady językowe z powieści, ale również podkreśla rolę stylizacji warstwy językowej wspieranej przez groteskowo zarysowaną formę gatunkową chic lit, uwypuklając jednocześnie problem ponowoczesnego świata, w którym za sprawą angielszczyzny dokonuje się monopolizacja językowa.
EN
This article is an attempt to show the image of young generation’s language and a view at the issue of globalization of language communication in the novel of Dorota Masłowska Kochanie, zabiłam nasze koty. The goal of this article is to draw attention to language of this novel as an example of lingua frankensteinia. The article presents not only examples of language excerpted from novel, but also emphasizes role of the stylization of language layer that is supported by grotesquely outlined form of chic lit genre, highlighting at the same time the problem of monopolization of language by English language in postmodern world.
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Innowacje w akomodacji syntaktycznej w Wojnie polsko-ruskiej pod flagą biało-czerwoną Doroty Masłowskiej i ich tłumaczenie na język rosyjski

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Orzechowska J.
Prace Językoznawcze
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2017
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issue XIX/4
107-119
EN
In her novel Wojna polsko-ruska pod flagą biało-czerwoną Dorota Masłowska employed several types of linguistic innovations. One of them is a change in verb accommodation. Unfortunately, none of the eight types of innovative syntactic accommodation analysed in this paper was reflected in the novel’s translation into Russian. This is surprising as such linguistic phenomena could have been easily rendered into a cognate language such as Russian. It is difficult to determine what made the translator resign from showing Russian readers the beauty of the deconstructed Polish. Getting acquainted with Irina Lappo’s translation, they are incapable of appreciating the poetic and innovative qualities of Masłowska’s language.
5
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Odstępstwa od normy w kategorii gramatycznej liczby w powieści Wojna polsko-ruska pod flagą biało-czerwoną i ich odzwierciedlenie w przekładzie na język rosyjski

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Orzechowska J.
Studia Rossica Posnaniensia
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2020
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vol. 45
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issue 1
PL
Dorota Masłowska’s Wojna polsko-ruska pod flagą biało-czerwoną employs various types of linguistic innovations. One of them is a mistaken selection of the number of nouns. This stylistic means results in linguistic humour. In the Russian translation of the novel reflecting this phenomenon should not pose any problems. However, neither of the instances of the stylistic means analysed in the paper was reflected in the Russian target text. It is difficult to determine why the translator did not attempt to show Russian readers a reconstruction of the language of the Polish text. As a result, Irina Lappo’s translation lacks the poetic qualities and refreshing touches of Masłowska’s language.
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Innowacje w kolokacjach w Wojnie polsko-ruskiej pod flagą biało-czerwoną Doroty Masłowskiej i ich tłumaczenie na język rosyjski

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Orzechowska J.
Acta Polono-Ruthenica
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2017
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issue 22/1
143-151
EN
The paper presents the phenomenon of extended collocations in the novel Wojna polsko-ruska pod flagą biało-czerwoną by Dorota Masłowska. Innovative collocations are analysed with reference to an adverb ‘doszczętnie’ [Eng. thoroughly]. New unconventional collocations are among the factors thanks to which the language of the novel is believed to have undergone deconstruction. Unfortunately, in the Russian version of the novel the translator did not reflect the discussed phenomenon, which deprived Russian readers of part of the aesthetic linguistic experience available to Polish readers.
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Obraz współczesnego społeczeństwa w utworach muzycznych Doroty Masłowskiej – Mister D.

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Wrzochul-Stawinoga J.
Kultura-Społeczeństwo-Edukacja
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2018
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vol. 13
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issue 1
254-273
EN
Changes resulting from the development of the Internet have a significant impact on the shape of popular culture. Music, particularly the message that it conveys, constitutes an important element of culture. Music, which is a part of a wider cultural context, has a significant influence on the shaping of the world view of contemporary people and serves as an important element of its description. According to Jacek Bernasiewicz, music often becomes the building block of the young generation. “It is primarily about music, and particularly its content, that always served as a generational bond and carried ideology – rock music for flower children, punk rock for neglected children, rap music for hip hoppers…” (Bernasiewicz, 2009: 4). Music always carries a message and combined with a music video, it becomes a story. This paper and deliberations contained herein are devoted to the works of Mr D, also known as Dorota Masłowska, which is a mirage – on the one hand of pop culture, entertainment and fun, and on the other, a depiction of the contemporary Polish society, in which the Generation Y plays a major role. The aim of the paper is to show how the Internet, being a place where narratives about the world play out, using the convergence of media, contributes to the construction of a certain reality, the elements of which, emphasised by Dorota Masłowska and elevated above the everyday life of the global teenager “Made in Poland,” make up the determinants of contemporary youth culture. Music videos by Mr D. and the content of songs from the album Społeczeństwo jest niemiłe will serve as the subject of this analysis. The narrative appearing in these songs will be examined, and the broader context of the meanings contained in the songs in relation to the entirety of popular culture and the way of functioning of society in it will be pointed out. Dorota Masłowska’s songs are not narratives of the author herself, but of protagonists presented in her music videos: the girl presented in the music video undergoes a kind of metamorphosis, and the viewer looks at the world through the eyes of her imagination. The protagonists in her music videos and songs are representatives of certain social groups with specific, clear characteristics that allow them to be individually identified. I assume that lyrics of songs listened to and music videos watched by youth and young adults are among the most important ways of learning and participating in culture by giving meaning to oneself, one’s life and the world. A musical work that is an “immature form” of culture, making use of the wide range of possibilities available to it for conveying messages, full of symbols and metaphors, demands its recipients to read and discover the meaning.
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