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1

Madagascar - an island or a continent? On the notions of 'island' and 'insularity'

100%

Jędrusik M., Szmajda D.

Miscellanea Geographica. Regional Studies on Development

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2008

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vol. 13

251-258

EN

The impreciseness and conjectural character of the notions of island and continent have been the subject of many debates. Most researchers agree that unique features of an island include isolation and significant linkages between the economy and life of the inhabitants with the sea. Some characteristic features are related to spatial development and a concentration of towns and the transport network near the sea. However, Madagascar, which is regarded as an island in all kinds of classifications, fulfils only some of the above criteria. As far as the natural life is concerned, some consequences of spatial isolation can be observed, particularly the predominance of endemic and relict species in the fauna and flora, whereas in the economic and social sphere, Madagascar reveals features which are characteristic of continents. Is therefore Madagascar rightly considered an island?

2

Kein Mensch ist ein Ich-Land. Metafora wyspy w refleksji o przyjaźni

99%

Roszak J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2010

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issue 17

111-124

EN

In her essay, the author recalls literary contexts (including John Donne, Michel Houellebecq and Ernest Hemingway) and philosophical and anthropological contexts (including Aristotle, Thomas Merton, Maurice Blanchot, Jean-Paul Sartre and Gilles Deleuze) presenting the poetic “I’s” various ways of approaching friendship. The quotation from a German translation of John Donne’s poem used in the title of the article is in itself a meaningful phonetic wordplay: “Kein Mensch ist ein Ich-Land” (no man is an “I” land, no man is an island). The main part of the essay includes an interpretation of the television series Lost - Joanna Roszak investigates philosophical references in the series and indicates biblical contexts (“Am I my brother’s keeper?”). A very apt comment to many episodes in the series is, according to the author, the formula told by Z. Herbert’s Fortinbras: Ani nam witać się ani żegnać żyjemy na archipelagach/ A ta woda te słowa cóż mogą cóż mogą” [It is not for us to greet each other or bid farewell we live on archipelagos/ and that water these words what can they do what can they do prince]. It is a similar defencelessness in which the main characters of Lost try to struggle the reality, even if they live together, and die all alone. Collective memory has become a safeguard for the community in the world, which is to be destined for homelessness and forlornness. The other person though becomes a reference point - it is him or her that makes it possible to find the way home.

3

Autour de l’axis mundi. De la notion théorique à la mise en image littéraire dans l’œuvre de Jules Verne (Voyages et aventures du capitaine Hatteras et Le Sphinx des glaces)

81%

Jarosz A.

Quêtes littéraires

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2013

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issue 3

101-107

EN

The symbolism of axis mundi constitutes an integral part of cultural and religious systems across the world. Such symbolism appears clearly and precisely in all forms of religious life. As it is stressed by Eliade, many a time, axis mundi is an intersection of three varied ontological zones (the interior of the Earth, the surface of the Earth, and the Heaven) and creates a contact place of man with sacrum. The axis mundi symbolism, analysed here as a part of literary studies, is reflected also in two important novels by Julius Verne (Adventures of Captain Hatteras, 1864-65 ; An Arctic Mystery, 1897) dedicated to the polar regions. In both novels, such sites (the north-ern and southern poles) become a literary image of axis mundi, while the hypothesis finds its confirmation in the nature of psychological experiences of the heroes cast in the polar regions. The symbolic and religious study of such experiences leads to the conclusion that in both the analysed cases they may be understood as an experience of a contact with sacrum.

4

Wyspa jako „landscape“ i „Landschaft“. Fenomenologiczne próby odczytania krajobrazu w „Duchach Inisherin”

72%

Boguska A.

Kwartalnik Filmowy

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2023

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issue 122 Krajobrazy, panoramy, terytoria

86-106

PL

Krajobraz w filmie oddawany jest nie tylko w obrazie, ale i w dźwięku. Autor ukazał jego kreację na przykładzie dziesięciu filmów science fiction, zrealizowanych na przestrzeni blisko 70 lat, pokazujących pozaziemskie planety. W opisie ich fonosfery wykorzystał teorię pejzażu dźwiękowego R. Murraya Schafera oraz analizę audio-wizualną Michela Chiona. W pionierskich filmach z przełomu lat 50. i 60. użycie eksperymentalnych efektów elektroakustycznych zamazuje rozróżnienie między dźwiękiem a muzyką i jest jednym z elementów wywołujących wrażenie niesamowitości. W środkowej części artykułu autor porównał adaptacje dwóch kanonicznych utworów gatunku – Solaris Stanisława Lema i Diuny Franka Herberta – które wprowadzają kontrastujące planety. Zestawienie to pokazało, jak żywioły przekładają się na dźwięki i jaką funkcję owe dźwięki mogą pełnić. W ostatnim rozdziale zostały opisane dwa seriale będące najnowszymi odsłonami fantastycznych sag: Star Trek i Gwiezdnych wojen. W pierwszym powraca wątek żyjącej planety, a w drugim toniki dźwiękowej opartej na materiale.

EN

In cinema, the landscape is reflected not only in the image, but in the sound as well. The article discusses the creation of the latter based on ten science-fiction films, dating from a period of nearly 70 years, that show extraterrestrial planets. Their soundscapes are described in terms of R. Murray Schafer’s theory and Michel Chion’s audio-visual analysis. In pioneering titles from the late 1950s and early 1960s, the use of experimental electro-acoustic effects blurs the distinction between sound and music, creating an impression of the uncanny. In the middle part of the article, adaptations of two canonical texts of the genre are compared – Stanisław Lem’s Solaris and Frank Herbert’s Dune – which introduce contrasting planets. Thanks to the juxtaposition, it turns out how their elements translate into sounds and what function these sounds can take. The last section describes two series that are the latest spin-offs of the fantastic sagas: Star Trek and Star Wars. In the first, the motif of a living planet returns, and in the second, the material-based keynote sound.

5

Daniel Vetter (1592–1669) autorem pierwszego przewodnika turystycznego po Islandii

72%

Skoczylas J.

Analecta. Studia i Materiały z Dziejów Nauki

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2018

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vol. 27

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issue 1(52)

83-95

EN

The article analyses the text of Daniel Vetter (1592–1669) being the first description of Island in the Polish language. D. Vetter stayed in Island in June 1613 and the report of his stay was published in Leszno only in 1638. D. Vetter, although a Czech by descent, with the use of Czech characters, fi rst in Polish and then in Czech, German, Danish, etc. provided characteristics of tourist, natural and cultural attractions of Island. Author of the article also visited the island 403 years after D. Vetter and to a large extent confi rmed, explained and supplemented observations, refl exions and relations prepared in the first half of the 17th century.

6

МОЛОДОСТЬ И СТАРОСТЬ В СОВРЕМЕННОЙ РУССКОЙ ЛИТЕРАТУРЕ

72%

Zielińska M. I.

Conversatoria Litteraria

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2017

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vol. 11

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issue XI

301-310

RU

Exemplified by the selected prose of Russian writers of 20th and 21th centuries, the author analyses the issue of youthfulness and old age, commencing with the so-cold youth prose (V. Aksyonov, A. Kuznetsov, A. Gladilin) and rural prose (V. Raspu-tin, V. Astafyev). The issue also captures the interest of contemporary writers, including A. Yermakova, I. Mamaeva and Z. Prilepin. In their prose, protagonists, who belong both to the young and old generation, find it difficult to adjust to the reality after the Soviet Union collapse, which aggravates social contrast and eliminates those weak and helpless. Elderly people are most frequently made to live alone, struggling with their financial situation. The young generation, uneducated and unassertive, also find it difficult to live their life in dignity. Based on the analyses carried out, the author comes to the conclusion that it is impossible to create an unambiguous image of relation between the young and old generation since these relations are dependent not on social-political transformations, but on the human’s axiological system.

7

Les anti-utopies insulaires de Michel Houellebecq et Jean-Philippe Toussaint

72%

Rachet C.

Quêtes littéraires

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2021

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issue 11

181-195

EN

The characters created by Michel Houellebecq and Jean-Philippe Toussaint end up by extracting themselves from our social and geographical world whose rules and limits are too difficult to bear. In this context, retreating to existing islands appears to be a legitimate solution. If, at first glance, they seem to be alternatives to the throes of the metropolis, Lanzarote and the island of Elba do not represent utopias as ideal societies but as non-places in the etymological sense of the term: the place of nowhere or which is in no place. The two authors do not cease playing with the codes of the island utopia, while depriving them of the history and the literary references which are usually associated with the concept. The article aims to analyze the effects and manifestations of Houellebecq’s and Toussaint’s anti-utopian islands, in a world whose limits and finitude of resources have been measured.

FR

Les personnages de Michel Houellebecq et Jean-Philippe Toussaint finissent, dans leur grande majorité, par s’extraire d’un monde social et géographique dont ils peinent à supporter les règles et les limites. Dans ce contexte désenchanté, le retrait vers des îles se présente comme une solution légitime. Si elles apparaissent dans un premier temps comme des alternatives aux affres de la métropole, Lanzarote et l’île d’Elbe représentent moins des utopies décrivant des sociétés idéales que des non-lieux relégués à une acceptation étymologique du terme : le lieu de nulle part ou qui n’est en aucun lieu. Les deux auteurs ne cessent ainsi de jouer avec les codes de l’utopie insulaire, en les déchargeant de l’histoire et des références littéraires qui lui sont habituellement associées. L’article se propose d’analyser les effets et les manifestations des anti-utopies insulaires de Houellebecq et Toussaint, dans un monde dont on a mesuré les limites et la finitude des ressources.

8

Seeing Croatian Islands as Something Other than Paradise

58%

Hanshew K.

Slavia Meridionalis

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2022

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vol. 22

9

THE CHRONOTOPE OF LOVE EXPLORED THROUGH ORHAN PAMUK’S THE MUSEUM OF INNOCENCE

44%

Vaso K.

Świat Tekstów. Rocznik Słupski

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2018

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vol. 16

139-148

EN

Through Orhan Pamuk’s novel, The Museum of Innocence, and Mikhail Bakhtin theory on the chronotope, specifically the idyllic chronotope, the article explores the specific chronotope of love which possesses a dual nature, both specific and timeless. Like all lovers, the novel’s protagonists, Füsün and Kemal belong simultaneously to the particu-lar place and time of their circumstances and the intimate world they create which tem-porarily transcends the boundaries of space and time. This private world echoes that of Adam and Eve, one suspended between the innocence and isolation of a private world and the looming threat of the real world’s interference. This dynamic between the place-less and time-less world of two and its existence within a specific place and time is espe-cially palpable in Orhan Pamuk’s novel, the very premise of which rests on the preserva-tion of a specific temporal period through artefacts, here belonging to Füsün, Kemal’s love. The eponymous museum refers to Kemal’s obsessive gathering and conservation of any item that belongs to her. The meetings of the lovers are dated with a historian’s precision and placed in the exact spot of Istanbul, the author’s beloved city. Kemal and Füsün could be Adam and Eve or any other literary couple following in their footsteps, yet their isolated world is interrupted by the noises, light and smells belonging to Istanbul alone. This specific chronotope belonging to love echoes Peter Pan’s island or Alice’s wonderland but the adult version of this private universe cannot be quite as separate from the real world. The latter can only partially escape and remains halfway trapped in its exact coordinates and time zone. My article ventures the thesis that the children’s and adult’s versions represent a similar effort to create a world of innocence and freedom though to a lesser degree in the second case.

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