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1
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Simpatías por el Mal: El discurso persuasivo en “Sympathy for the Devil” de los Rolling Stones y “Jesucristo García” de Extremoduro

100%
Gregori i Gomis A.
Studia Romanica Posnaniensia
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2010
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vol. 37
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issue 1
99-115
EN
Dealing with discourses produced in Contemporary Popular Music, it is usual in contemporary youth’s imaginary to find rock considered as metonymic with authenticity, remaining as a movement an outstanding extension of Romanticism. Then, when drawing out its motifs from Satanism, successful rock lyrics need a rhetorical stylization in order to construct persuading songs beyond traditional morals. The main goal of this article is to analyze and compare this kind of stylization in Rolling Stones’s Sympathy for the Devil and Jesucristo García, written by the Spanish band Extremoduro, taking them both as examples of popularized dramatic monologues that present the topic of attraction of Evil performed by devilish figures.
2
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Paradoxical manners of understanding anti- -discrimination education. Content analysis of hip-hop music lyrics from the album “Hip-Hop racism stop! #1”

100%
Sury Z., Smoter K., Kołodziejczak K.
Edukacja Międzykulturowa
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2022
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vol. 19
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issue 4
191-202
EN
The aim of the study presented in this article was to verify the presence of the assumptions of anti-discrimination education in the lyrics of songs featured on the album “Hip-Hop racism stop! #1”, a project launched as part of a Polish campaign called “Music Against Racism”. The study involved using the content analysis method in an interpretative paradigm according to the contextual theory of meaning. The main conclusion is that the use of songs as a form of educational support can be a valuable element in the anti-discrimination education, but it is crucial to call for “negotiating with young people the content of existing culture”, which may provoke discussion with students about the ways in which words are used to form a specific image of the world. Another important conclusion is the “paradox of violence” referring to a tendency to appeal for the rejection of violence, while at the same time using violence-provoking words.
3
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Жанровые тенденции в лирике Анны Ахматовой: к вопросу о традиции

100%
Чаунина Н.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2012
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issue 5
80-88
EN
This article considers the key genre trends in Akhmatova’s poetry. The term «dominant installation of the author» (Kighney’s term) is used as the main genre-make criterion. The introspective, formally canonical, functional installations are defined and analysed. The conclusion of the article is that the author's installations, inspired by the needs of time and tradition, and may be embodied in an individual poetic work in the syncretic, differently interpreted genre structures.
4
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Категорія художнього простору у фольклорній ліро-епіці українців

100%
Konieva Y.
Acta Neophilologica
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2012
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issue XIV/2
141-146
EN
In the paper Yaroslava Konieva considers one of the most important categories of the folklore text poetics – the artistic spaces from the point of view of semiotic cultural anthropology. The author distinguishes sacral-mythological, magic and mythological artistic spaces.
5

Odzwierciedlenie tekstu piosenki literackiej w jej warstwie wokalno-instrumentalnej na przykładzie wybranych utworów grupy Pod Budą

100%
Bełkot A.
Kwartalnik Młodych Muzykologów UJ
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2018
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issue 3(38)
103-121
EN
The subject of this article is the analysis of the selected songs – classified as ballads – of the band Pod Budą from Kraków, which purpose is to prove the thesis that the most important song codes in sung poetry are located in lyrics. This thesis is argued by the fact that vocal-instrumental parts of the work underline the importance of lyrics through suitably shaped components of a musical work. Lyrics in sung poetry emphasize therefore: agogic and melodic accents when singing in both high and low volume, and in the instrumental part, apart from the specific dynamics, also tempo. Certain musical technique also helps to trigger the imagination of the recipient as, while listening to the song, the audience can see what the vocalist sings about, that is the space and the situations in which a character of the song is located.
6

Reflection on the Lyrics of the Sung Poetry in Its Vocal-Instrumental Layer on the Example of Selected Pod Budą’s Works

88%
Bełkot A.
Kwartalnik Młodych Muzykologów UJ
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2018
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issue 3(38) Eng
105-124
EN
The subject of this article is the analysis of the selected songs—classified as ballads—of the band Pod Budą from Kraków, which purpose is to prove the thesis that the most important song codes in sung poetry are located in lyrics. This thesis is argued by the fact that vocal-instrumental parts of the work underline the importance of lyrics through suitably shaped components of a musical work. Lyrics in sung poetry emphasize therefore: agogic and melodic accents when singing in both high and low volume, and in the instrumental part, apart from the specific dynamics, also tempo. Certain musical technique also helps to trigger the imagination of the recipient as, while listening to the song, the audience can see what the vocalist sings about, that is the space and the situations in which a character of the song is located.
7
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BLOODY RAIN AND THORNY ROSES. GENDER CODING IN THRASH AND HAIR METAL

88%
SIMON B.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2014
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vol. 6
55-86
EN
In the mid 1980s two new subgenres of heavy metal were created in the USA: hair/glam and thrash metal. Hair metal was mostly played by men who were perceived as effeminate – something which seemingly goes against metal‘s emphasis on masculinity (and implied homophobia). Thrash metal distanced itself from its rival by a more masculine visual code, a more aggressive sound, but also with the choice of words and subjects in their lyrics. By comparing early albums by some of the most famous bands of both subgenres it is possible to point out the most common supposedly 'feminine' and 'masculine' keywords, themes and images which are embedded in their albums, as well as different strategies of constructing 'masculinity'.
8
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В „утробата на кита”, или „тихият вик” на българските поети през 60-те и 70-те години на ХХ век

87%
Кръстева Г.
Poznańskie Studia Slawistyczne
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2014
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issue 6
EN
This article entitled unassumingly aims at reminding – just in a cursory way, but with a substantial degree of certainty, too, in their literary and historical justification – of a specific list of names of Bulgarian poets, whose „discontent” and/or „disappointment” with the totalitarian regime in Bulgaria create the history of the dissent, which found its expression in the alternative lyrical thinking and writing in the period of socialist realism during the decades of the sixties and the seventies of the twentieth century.
9
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Лили Лалауна

76%
Tošović B.
Stylistyka
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2016
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vol. 25
513-528
EN
The paper is dedicated to the text Lili Lalauna – most extraordinary and most enigmatic poem of Ivo Andrić. The analysis consists of two parts. The first discusses the phonetic-phonological, stylistic, versificational and semantic structure of the verses. The second part deals with their setting to music by composer Rada Radivojeviæ and interpretation of actress Vjera Mujoviæ and actors Goran Sultanoviæ and Aleksandar Sreèkoviæ Kubura.
10
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Tendencje epoki oraz indywidualny rys w kształtowaniu bohatera literackiego w romansopisarstwie Wacława Potockiego

75%
Woron J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 18
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issue 4
33-41
EN
The subject of the article is the study of the formation of the literatery hero in the baroque novel written by Waclaw Potocki. The aim of the work is the establishing the following questions: Did the the poet realise general tendences obligatoring in baroque romances? Or did he depart from the arisen rules and thus his characters were named by individual feature? The periphrasis of the following questions like the look of the character, personality, the model of love and the docere function realised by some heros help in solving the problem. Six lyrics Judyta, Tressa and Gazela, Wirginia, Syloret, Argenida and Lidia attributet to Potocki were this way analysed.
11
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Elementy kodu miłosnego w liryce Haliny Poświatowskiej

75%
Skubalanka T.
Stylistyka
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2010
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vol. 19
209-238
EN
The author exhibits the presence o f various elements o f traditional love code in the lyrics of the poet. These elements include appeals and allusions to love divinities, phraseology of heart and amorous fires, some fragments of descriptions of lovers’ beauty, and selected connections with the world of nature. Stylistic innovativeness o f these lyrics consists in the formation of the style, which is brief and full of simplicity, and in the exploitation of symbolism connected to the nature.
12
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Optymizm i wojenna zawierucha. O wybranych lirykach Krzysztofa Kamila Baczyńskiego

75%
Spyra P.
Społeczeństwo. Edukacja. Język
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2015
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vol. 3
159-166
EN
The article attempts to provide a contextual interpretation of a few chosen poems written by Krzysztof Kamil Baczyński. The biographical and historical context left an extraordinary imprint on the poet’s work. In his lyrics, along with light-hearted, fairy tale like scenery there appear, in the course of time, increasingly clear and menacing signs of the horrifying reality of war and Nazi occupation. The poet searches for salvation and recovery of the original world of nature. Nevertheless, he ends up being defeated by the terrifying forces of history.
13
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Artur Daniel Liskowacki i liryka nowoczesna

75%
Skrendo A.
Autobiografia. Literatura. Kultura. Media
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2021
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vol. 17
37-45
EN
The subject of the article is the poetry of Artur Daniel Liskowacki. The context of the considerations is the essays of Liskowacki himself and modern aesthetics, especially avant-garde and post-avant-garde. Liskowacki uses the principles of modern aesthetics in his own way and leads them to contradictions.
PL
Tematem artykułu jest twórczość poetycka Artura Daniela Liskowackiego. Kontekstem rozważań jest eseistyka samego Liskowackiego oraz estetyka nowoczesna, zwłaszcza awangardowa i postawangardowa. Liskowacki we własny sposób wykorzystuje zasady estetyki nowoczesnej i doprowadza je do sprzeczności.
14
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Przysłowia w polskim flowklorze

71%
Szpila G.
Polonica
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2020
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vol. 40
EN
The article discusses the use of proverbs in Polish hip-hop lyrics. The paper talks about the presence of paremias in Polish rap songs, analyzes their formal transformations (enumerating syntactic and lexical changes in the shape of proverbs), as well as examines the exploitation of proverbial semantics with a view of presenting individual and more general values of the Polish hip-hop community.
PL
W artykule przedstawiono analizę przysłów w wybranych tekstach polskiego hip-hopu. Artykuł omawia miejsce paremii w tekstach rapu, rezentuje przekształcenia formalne (gramatyczno-leksykalne) i semantyczne proverbiów oraz bada  znaczenia wykorzystywanych przysłów w kreowaniu ideologicznego obrazu polskiego hip-hopu.
15
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Twardowski i Teresa

71%
Szargot M.
Tematy i Konteksty
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2020
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vol. 15
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issue 10
556-560
EN
Monograph of Alicja Mazan-Mazurkiewicz Liryka ks. Jana Twardowskiego. Spotkanie ze św. Teresą z Lisieux is a reading of the works of a priest-poet through the prism of the person and the work of Saint Teresa of Lisieux, called “little Teresa”. It compares the works of a priest and Carmelite nun, as well as their personalities and biographies (above all – spiritual). The work is distinguished by research reliability, sensitivity and loyalty to texts. This is demonstrated by, for example, great interpretations of poems (e.g. Niewidoma dziewczynka and Wierzę), as well as themes (telephone, kiss, couple ...) and metaphors.
PL
Monografia Alicji Mazan-Mazurkiewicz Liryka ks. Jana Twardowskiego. Spotkanie ze św. Teresą z Lisieux to lektura dzieł kapłana-poety przez pryzmat osoby oraz dzieła św. Teresy z Lisieux, zwanej „małą Teresą”. Mazan-Mazurkiewicz porównuje twórczość księdza i karmelitanki, a także ich osobowości i życiorysy (przede wszystkim duchowe). Praca wyróżnia się rzetelnością badawczą, wrażliwością i lojalnością wobec tekstu. Świadczą o tym chociażby świetne interpretacje wierszy (np. Niewidoma dziewczynka i Wierzę), a także tematy (telefon, pocałunek, para ...) i metafory.
16

Реконструкция чувствования в лирике Афанасия Фета

63%
Kolesniczenko T.
Slavica Wratislaviensia
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2014
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vol. 158
59 - 67
EN
The sensual nature of A.A. Fet’s lyrics was recognized by his contemporaries. In 1856 V.P. Botkin detected a special “sound” in his poems, that seemed to be a feeling of festivity. In the context of the suggested theme we can distinguish sense-concept “praise of youth” in the sensual layer of poet’s lyrics, which appears in a series of signs. Youth with its sensual content (delight, excitement, inconstancy, sincerity, impetuosity) is an important life value for Fet, which he stands for throughout his creative development, up to his most recent works. “The raise of youth” does not depend on the object that provokes the feelings, although contextually it mostly depends on natural phenomena. Unlike the lyrics of 40s and 50s, “the raise of youth” is estimated and conceptualized during the period of “Evening Lights.” Detection of established sense-concept in the lyrics of Fet contributes to the actualization of the features of his poetry that are combined with the search of the 20th century poets. This approach gives a new, sensual dimension to the romantic poeticisms, attributes new meanings to words, reveals a fine sense of the connection between the human being and the world.
17
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Autotematyzm w piosence na przykładzie twórczości Pablopavo (Pawła Sołtysa)

63%
Gajda K.
Forum Poetyki
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2022
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issue 27
28-43
EN
The paper is devoted to the works of Pablopavo, a song artist for whom mise en abyme is an important means of expression. Although the term has been recognized in literature studies for decades, it has rarely been considered an important element of song lyrics. The paper discusses numerous examples which illustrate different ways in which Pablopavo uses mise en abyme, creating attractive paraliterary constructions, breaking the genre limitations of songs, directing the message towards literariness. Mise en abyme becomes a device which allows him to construct an understanding with the addressee which goes beyond entertainment. Distance from the form, irony, comicality help make the message authentic, situating the very process of communication, based mostly on language, at the center.
PL
Tematem artykułu jest twórczość Pablopavo, artysty piosenki, dla którego jednym z ważnych środków wyrazu jest autotematyzm. Termin ten, od dziesięcioleci rozpoznawany w badaniach literaturoznawczych, rzadko (lub prawie wcale) był dotąd rozpatrywany jako ważny element tekstów piosenek. W artykule znajdziemy liczne przykłady, które pokazują, jak na różne sposoby warszawski songwriter wykorzystuje autotematyzm, tworząc atrakcyjne konstrukcje paraliterackie. Dzięki takim zabiegom udaje się przekraczać ograniczenia gatunkowe piosenki, kierując przekaz w stronę literackości. Autotematyzm staje się chwytem, który pomaga budować porozumienie z odbiorcą ponad poziomem rozrywkowym. Dystans wobec formy, ironia, komizm służą ocaleniu autentyzmu przekazu, stawiając w centrum zainteresowania sam proces komunikacji, oparty przede wszystkim na języku.
18
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Obraza muzyki i poezji. O twórczości Stanisława Staszewskiego

63%
Kubiak M.
Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego
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2018
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vol. 4
365-376
EN
The aim of the article is to present the works by Stanisław Staszewski which, despite being present in Polish popular culture for years, have not been thoroughly analysed in terms of their both textual and musical contents. This text analyzes the work of the author known from the original, preserved recordings and is based on texts contained in the volume of poetry Lonely people, poems and songs [Samotni ludzie. Wiersze i piosenki]. The included historiographic sketch and a closer look at the formal music-textual aspect of the works discussed here is a contribution to the general state of research on the relationships of literature and music.
PL
Artykuł ma na celu przybliżenie twórczości Stanisława Staszewskiego, którego dzieła – mimo iż od lat są obecne w polskiej kulturze popularnej, nie zostały należycie zbadane pod kątem zawartych w nich treści zarówno tekstowych, jak i muzycznych. Niniejszy tekst poddaje analizie twórczość autora znaną z oryginalnych, zachowanych nagrań oraz bazuje na tekstach pomieszczonych w tomie poetyckim Samotni ludzie. Wiersze i piosenki. Zawarty rys historiograficzny oraz bliższe spojrzenie na formalną stronę muzyczno-tekstową omawianych tu utworów stanowi przyczynek do ogólnego stanu badań nad związkami literatury i muzyki.
19
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Wśród czerni i złota – w kręgu poetyki Stanisława Staszewskiego

63%
Kubiak M.
Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego
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2022
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vol. 8
255-273
EN
The article aims to present the artistic works of Stanisław Staszewski and his poetics defined within the semantic field of loneliness, eroticism and longing. This study analyses the output of Staszewski that comes from original (also unpublished) recordings and examines texts from the volume of poetry Samotni ludzie, wiersze i piosenki [Lonely people, poems and songs] (2015). This text aims to look at the formal music-textual aspect of works by Stanisław Staszewski. The sketch tries to contribute to general knowledge of the artistic activity of Stanisław Staszewski and its results.
PL
Artykuł ma na celu przybliżenie twórczości Stanisława Staszewskiego, poetyki jego utworów, które konstytuują się w polu semantycznym samotności, erotyzmu i tęsknoty. Niniejszy tekst analizuje twórczość Staszewskiego znaną z oryginalnych, zachowanych nagrań (również tych niepublikowanych) oraz bazuje na tekstach zawartych w tomiku Samotni ludzie, wiersze i piosenki (2015). Celem tego artykułu jest bliższe spojrzenie na formalną stronę muzyczno-tekstową utworów barda. Szkic stanowi przyczynek do ogólnego stanu badań nad twórczością i działalnością artystyczną Stanisława Staszewskiego.
20

Językowe wykładniki humoru w tekstach utworów zespołu Nocny Kochanek

63%
Karczewska M.
Prace Językoznawcze
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2021
|
vol. XXIII/1
229–243
PL
Rozważania dotyczące humoru towarzyszą człowiekowi od starożytności. Również obecnie pojawiają się publikacje poświęcone tej tematyce. Humor badany jest przez filozofów, kulturoznawców i socjologów, w artykule istotna jest jednak perspektywa językoznawcza. Jedną z klasyfikacji zjawiska dowcipu językowego jest podział zaproponowany przez Danutę Buttler (1968/2001), która wyróżniła kilka podstawowych mechanizmów, na których opiera się dowcip językowy. Są to rozmaite zniekształcenia formy wyrazów, określone zestawienia słów, w tym powiązanie słów z różnych rejestrów języka, rymy i neologizmy. Zabiegi te mają na celu zaskoczyć odbiorcę, czasem wykreować nierzeczywisty świat, co może mieć efekt komiczny. W artykule przeanalizowano przykłady dowcipów językowych poszczególnych kategorii, jakie pojawiły się w tekstach utworów polskiej grupy heavymetalowej Nocny Kochanek. Analiza wykazała, że w tekstach zespołu można odnaleźć przykłady wszystkich typów dowcipu językowego wyróżnionych w teorii Buttler, choć wydają się przeważać mechanizmy ogólnokomiczne, związane z użyciem słów potocznych lub wulgarnych, co jest związane z tematyką badanych utworów.
EN
Humour has been an object of human reflection since ancient times. Even today, publications related to this topic are published. Humour is studied by philosophers, researchers of cultural studies and sociologists, but in the paper the linguistic approach is predominant. One of several classifications of linguistic humour is the typology by Danuta Buttler (1968/2001) who identified several basic mechanisms of linguistic humour. These are various word deformations, specific juxtapositions of words belonging to different registers, rhymes and neologisms. All of these mechanisms aim to surprise the recipient and create an unreal world, which may have a comic effect. In the paper, examples of linguistic humour were identified and analysed in the lyrics of Nocny Kochanek, a Polish heavy metal band. The research shows that all the categories of linguistic humour described by Buttler can be found in the lyrics of the band, general comic mechanisms related to the use of colloquial and vulgar words being the most popular ones, which is related to the subject of the lyrics studied.
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