Search results

1

Tęskniąc za wielogłosowością. Agnieszki Nęckiej rozpoznania „literatury nowej i najnowszej”

100%

Pasterska J.

Tematy i Konteksty

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2017

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vol. 12

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issue 7

536-541

EN

The review applies diagnosis of new Polish literature made by the critic and literary scholar Agnieszka Nęcka. Discussed topics of artistic innovations, polyphony and relation to reality.

2

Contesting the Real World of Budgets: The Polyphony of Organizational Socialization

94%

Hoffmann J.

Tamara. Journal for Critical Organization Inquiry

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2020

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vol. 18

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issue 1

30-50

EN

Organizational socialization research has been criticized for being too focused on socialization as an adaptation process. Furthermore, critics contend that socialization approaches tend to be micro-biased; they lose sight of broader societal implications. This study tackles both critiques by combining an identity-based understanding of socialization with the communicative con cept of the polyphonic organization. It is not only individuals who engage in multiple identity work; business organizations also do so when exposed to contextual voices at the macro-level of society. Qualitative interviews and focus groups with corporate communication professionals, alumni, and students reveal that there are multiple voices shaping organizational socialization. However, one societal reference has proved to be hegemonic, namely the instrumental reasoning of the economic system: newcomers are expected to adapt to the ‘real world’ of ‘budgets.’

3

Face, linguistic (im)politeness and polyphony in Thomas Hardy’s "Far from the Madding Crowd"

94%

Mugford G.

Crossroads. A Journal of English Studies

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2013

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issue 1

54-68

EN

Thomas Hardy’s novel "Far from the Madding Crowd" provides a stark contrast in how the characters project their face (Goffman 1967) and how they seek approval from others. Such a contrast can be analysed in terms of Bakhtin’s polyphony – the many voices found in a text which includes the author’s portrayal of his protagonists and how they interact with each other. In order to highlight this contrast and its way of coming across, I examine how three key characters in the novel, Gabriel Oak, Sergeant Frank Troy and William Boldwood, present themselves interpersonally. I use the concept of linguistic (im)politeness to demonstrate how the protagonists try to further themselves, especially in their pursuit of Bathsheba Everdene. I argue that a linguistic (im)politeness approach can also be applied to other novels of Thomas Hardy and indeed to a wider range of literature.

4

Дискурс массовыіх демонстраций

83%

Federova L.

Przegląd Wschodnioeuropejski

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2016

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vol. 1

101-119

EN

The paper proposes an analysis of a phenomenon of mass demonstration in terms of a theory of communication and the dialogue grammar. The semiotic difference between “communication” and “demonstration” is taken into account. The operational concept of polilogue provides models of unilateral and multilateral interaction that can be estimated in their functional parameters. Mass demonstrations in Russia in 2011-2015 were examined as examples. The scheme of analysis is based on the Voloshinov-Bachtin’s model, issuing from the social event of speech interaction. Each mass demonstration reveals different social positioning of its participants. Polyphony and unison representing the united force in the general social position can be effective forms of action in mass demonstrations.

5

Letter-writing as a communicative practice - polyphony in Finnish emigrant letters in the 19th century

83%

Nordlund T.

Poznań Studies in Contemporary Linguistics

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2013

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vol. 49

381-398

EN

This paper discusses the correspondence between Finnish emigrants living in North America and their families and friends at home in Finland. This correspondence dates from the latter part of the nineteenth century, and concerns the first generation of emigrants. Sending and receiving letters in nineteenth-century Finland can be understood as a communicative practice of the local community, because letters were written collectively, and a literate person typically acted as a scribe in the community. Even reading and receiving a letter was a collective act of hearing. Linguistically, the collective nature of letter-writing is reflected in the different manifestations of polyphony in the texts. This article will focus on the polyphony of the immigrant correspondence, analysing who are allowed to have a voice of their own, and how the different voices are reconstructed in the letters. This analysis will focus particularly on conveying polyphony through the use of person marking in Finnish.

6

Hybridité et altérité dans Magnus de Sylvie Germain

83%

Jauer A.

Quêtes littéraires

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2016

|

issue 6

138-146

EN

Magnus, a novel from Sylvie Germain published in 2005, is a narration made up of several marks of hybridity – structural, generic and discursive hybridity. Those marks are not simply formal but emphasize the necessity of a true presence towards the world and others. The itinerary of the character is a spiritual one, and the novel reveals the part played by reading and writing in the reconsideration of our relationship towards the world and the other people.

7

Композиционная роль диалога в книге Чернобыльская молитва

71%

Штранц-Никитина В.

Poznańskie Studia Slawistyczne

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2020

|

issue 19

321-347

EN

The paper deals with some specific features of dialogism in the book Chernobyl Prayer: A Chronicle of the Future by the Belarusian Nobel Laureate Svetlana Alexievich. As the title implies the article investigates typology of the dialogue in the text which is based on the Bakhtin’s analysis of the concept of the dialogue and polyphony. The article describes some principles of dialogism in relation to the composition of the text.

8

Une poétique du chaos dans Quand je s’appelle oubli chez Laurent Mauvignier

71%

Vandormael T.

Kwartalnik Neofilologiczny

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2018

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issue 3

9

Mapping Multiple Voices in B. S. Johnson’s House Mother Normal

71%

Malicka J.

Anglica. An International Journal of English Studies

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2012

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issue 21/1

41-60

EN

The present article is an attempt to analyse House Mother Normal – a littleresearched novel by the British experimental novelist B. S. Johnson. Starting with a general discussion of the author’s literary tenets, the analysis then focuses on the novel at hand, special emphasis being given to the ways in which it maintains continuity with Johnson’s previous works, as well as to the areas in which divergence from the author’s oeuvre is visible. Following these remarks, a question is posed concerning the somewhat complex relationship between the characters and the narrator in the novel, the main problem in this respect being the extent to which the narrator, if indeed present at all, is visible in the text. Finally, the focus of the article shifts to the novel’s multivoicedness, which is then discussed in terms of Bakhtinian notions of polyphony and dialogism. The subsequent analysis of selected excerpts from the novel demonstrates that House Mother Normal for the most part eludes any easy classification and thus subsuming it under Bakhtin’s categories is as seemingly easy as it is problematic and disputable.

10

Polyphonie et vérités multiples, „La Ville en ses murs” d’Esther David : identité et altérité de femmes de l’Inde

71%

Chalier-Visuvalingam É., School of the Art Institute of Chicago

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2014

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vol. 009

EN

In “The Walled City”, Esther David tells the story of three generations of women from the Bene Israel. The author, who belongs to this Indian Jewish community, lives in city of Ahmedabad, which was fortified in the fifteenth century. Esther David animates a constant dialogue between Jewish and Indian tradition, self and other, masculine and feminine, between the universal and the particular. Esther David’s books, in particular “The Walled City”, emphasize that the meeting of cultures, in all its complexity, is an asset that does not threaten identity but reveals the otherness of self and others.

PL

„Miasto murem otoczone” Esthery David opowiada historię trzech pokoleń kobiet z Bene Israel. Należąca do tej indyjsko-żydowskiej wspólnoty autorka mieszka w Ahmedabad, mieście zbudowanym w XV wieku. Prowadzi ciągły dialog pomiędzy: tradycją żydowską i indyjską, własną osobą a innymi, tym co męskie i tym co żeńskie, tym co uniwersalne i tym co specyficzne. Jej książki, a zwłaszcza „Miasto murem otoczone”, podkreślają, że spotkanie kultur, w całej swej złożoności, jest zjawiskiem wartościowym, które nie zagraża tożsamości, lecz pozwala odkryć różnice pomiędzy sobą a innymi.

11

Rubrication Patterns in Two Old Nubian Manuscripts from Serra East

71%

van Gerven Oei V. W. J., Tsakos A.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2019

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vol. XXXII

99-110

EN

The present paper analyses the rubrication patterns in two Old Nubian manuscripts (known under the sigla St and SC) both originally intended for deposition at the Jesus Church in Serra East. Through a comparison with rubrication patterns in other Old Nubian manuscripts, the authors argue that the rubricated phrases in St and SC show an internal coherence that could be interpreted as a ‘second voice’ in a ‘polyphonic’ text.

12

Zofia Dobrzańska-Fabiańska, Spór o rolę „modus” i „tonalité” w sztuce kompozycji XVI i początku XVII wieku, Kraków 2013 (= Acta Musicologica Universitatis Cracoviensis 24) Musica Iagellonica ss. 376. ISBN 987-83-7099-187-6

71%

Jasiński T.

Muzyka

|

2018

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vol. 63

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issue 3

143-149

13

Beyond “Philosophy – Faith” Dichotomy: A Plea for a New Interpretative Opening and Dialogue in Dostoevsky Studies. Response to Elżbieta Mikiciuk

67%

Kruszelnicki M.

Slavia Orientalis

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2017

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vol. LXVI

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issue 4

14

La Caricature littéraire : L’Éducation sentimentale de Flaubert

67%

Guinand C.

Quêtes littéraires

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2015

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issue 5

65-77

FR

In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion.

15

Stać się sobą. O Narcyzie

62%

Graczyk E.

Poznańskie Studia Polonistyczne. Seria Literacka

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2013

|

issue 21

23-49

EN

The author analyzes and interprets the style, structure, and narration in the novel that marked the transition in Nałkowska’s fiction from the Young Poland phase to the inter-war phase. The author shows the place of the novel in Nałkowska’s work, presenting the links with the work of other women writers of the 19th century, especially Orzeszkowa and Zapolska. The author attempts to demonstrate that Narcyza’s features elements of novelistic, feminine polyphony and irony (thanks to the use of the work of literary mothers); such elements were rare in the novelists earlier texts. The second part of the article is devoted to the analysis of the main heroine; the author demonstrates that Nałkowska wants to make the character a problematic and ideological heroine in the Bakhtinian sense. The author analyses the novelist’s techniques of “advancing” Narcyza, and the attempts to extricate the heroine, who is a marriageable maid, from the romance-like situation and to turn her into a serious character in the sense that used to be exclusively possible for male characters.

16

Zbrodnia Raskolnikowa – wieczna zagadka

62%

Kruszelnicki M.

Poznańskie Studia Slawistyczne

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2017

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issue 13

EN

The article focuses on one of the major mysteries concealed in Fyodor Dostoevsky’s oeuvre up to the present day, namely the main cause of a double murder committed by Raskolnikov in Crime and Punishment. I present selected scholarly interpretations of Raskolnikov’s deed, some of them being already classical and ever inspiring for subsequent readings of the novel, some using extremely persuasive argumentation on one of Raskolnikov’s possible motives. Each of these readings becomes an object of my commentary and critical assessment as I indicate those fragments in Dostoevsky’s novel which undermine their claim to provide an ultimate solution of Raskolnikov’s reason for crime. This presentation leads to the conclusion that Crime and Punishment is unusually open for interpretations, which probably have more to say about the philosophical identity of their authors rather than about Dostoevsky’s intentions in creating his famous protagonists. Eventually I claim that the novel’s main secret – Raskolnikov’s motive for murder – is never to find its one, satisfactory explanation and that this is what makes a literary work a true, immortal masterpiece.

17

Translating Semiotic “Polyphony” of Texts as a Culture-Formative Creation.Based on the Example of Bulgakov’s The Master and Margarita

60%

Squillace C.

Półrocznik Językoznawczy Tertium

|

2021

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vol. 6

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issue 2

158-169

PL

Powieść „Mistrz i Małgorzata” jest powszechnie uważana za arcydzieło literackie Michaiła Bułhakowa. Jest ona mieszanką gatunków literackich, motywów, tematów, obrazów i odniesień intertekstualnych. Wszystkie elementy, o których wyżej mowa współdziałają w tworzeniu powieści „polifonicznej”, w ujęciu Bachtina, nie tylko gdy chodzi o odmienny charakter i „głos” pojedynczych postaci, ale także o odniesienie do „wielopoziomowej” konstrukcji samego tekstu. Artykuł zilustruje cechy charakterystyczne powieści Bułhakowa oraz semiotyczny charakter tego utworu, w tym jego zdolność do generowania znaczeń, a więc „semiozy” zdefiniowanej m.in. przez C. S. Peirce’a jako „moc” znaczeniotwórcza niektórych procesów semiotycznych. Autorka niniejszej pracy postara się też znaleźć odpowiedzieć na pytanie, dlaczego powieść ta była wielokrotnie tłumaczona na język polski i włoski od 1967 roku, kiedy to pierwsze wydanie powieści ukazało się w Europie Zachodniej. Ze względu na bardzo specyficzną konstrukcję fabuły i formalne aspekty powieści tłumacze musieli zmierzyć się ze znaczną liczbą problemów „nieprzekładalności”, które mogli rozwiązać jedynie wykorzystując swój potencjał twórczy. Roman Jakobson omawiając kwestię nieprzekładalności stwierdził, że dla tego, co nieprzetłumaczalne – na przykład poezji – „możliwa jest tylko twórcza transpozycja”. Dzięki kreatywności tłumacze mogli także odkryć dalsze interpretacje literatury Bułhakowa, tworzyć i wykonać akt kulturotwórczy, ponieważ ich wysiłki oferują nowy punkt widzenia na rzeczywistość i jej postrzeganie, szerszą wiedzę o życiu społecznym nie tylko, gdy chodzi o czasy radzieckie, ale w bardziej uniwersalnej perspektywie. Ponadto mogli stworzyć także nowe modele tekstu i literackości. Dlatego powieść Bułhakowa była tłumaczona tak wiele razy i nadal jest tłumaczona na dwa wybrane przez autorkę artykułu języki (włoski i polski). I jest to również powód, dla którego można nadal uznać „Mistrza i Małgorzatę” za dzieło tekstotwórcze i kulturotwórcze, mimo że jego pierwsze wydanie ukazało się w 1940 roku.

EN

“The Master and Margarita” is generally considered Mikhail Bulgakov’s literary masterpiece. It is a “melting pot” of literary genres, motives, themes, imagery and intertextual references. All these elements cooperate in creating a “polyphonic” novel, in Bakhtin’s sense of the word, not only when it comes to the different nature and “voice” of single characters but also with reference to the “poly-structured” construction of the text itself. The paper will illustrate the peculiarity of Bulgakov’s novel and the semiotic and semiosic character of his creation. The adjective “semiosic” derives from “semiosis” as defined, among others, by C.S. Peirce, who stresses the meaning-making “power” of some semiotic processes. The paper aims also at answering the question why this novel has been translated several times into Polish and Italian since 1967 (when the first edition of the novel was published in Western Europe). Due to the very specific construction of the plot and of the formal aspects of the novel, translators had to deal with a significant number of problems of “untranslatability” that they could solve only by using their creative potential. It was Roman Jakobson who through his linguistic analysis reached the conclusion that for the untranslatable-poetry for example-“Only creative transposition is possible”. Using creativity translators were also able to discover further interpretations of Bulgakov’s literary work and to perform a culture-formative act as their efforts offer new points of view on reality and its perception, wider knowledge of the social life not only in Soviet times but in a more universal perspective as well as new models of text and literariness. That’s why a novel like Bulgakov’s masterpiece has been translated so many times and it is still translated in the two languages selected for the purposes of this research and all over the world. And this is also the reason why it can be considered a meaning-generative and culture-formative text even if its first edition appeared in 1940.

18

Tradycyjny śpiew wielogłosowy w Polsce w perspektywie etnomuzykologii

60%

Dahlig P.

Łódzkie Studia Etnograficzne

|

2018

|

vol. 57

EN

The article presents the history of documentation of multi-part singing in Poland and the state of research on this subject. The multi-part singing as the musical and culture phenomenon is regionally limited and can be recorded in Carpathian Mountains and in the north-eastern borderland where the multi-part singing remains in some parishes the common heritage of Poland and Lithuania till today. There are also numerous examples of spontaneous heterophony in Polish-Belorussian and Polish-Ukrainian musical traditions, but the singing in parallel thirds prevails, particularly among members of the Orthodox Church. The prerequisite of the multipart singing is a slow tempo, not typical of folk songs in ethnic Poland. The review of sources and living practice allow to discuss three historical layers of multipart singing in Poland: 1) the oldest one – heterophony or diaphony in fifths documented since the 15th century, 2) three-part mixed choir influenced by the church practice since the 18th century (north-eastern part of Poland) and 3) parallel thirds in female groups wherever the school-youth-choirs were introduced and the mixed choir movement e.g. in Silesia since the 19th century. Thus the multi-part singing has become both a sign of regional-ethnic specificity and the result of the cultural development.

PL

Artykuł prezentuje historię dokumentacji wielogłosu wokalnego w Polsce, jako zjawiska muzycznego i kulturowego oraz aktualny stan rozeznania w praktyce śpiewu wielogłosowego.Jako zjawisko międzykulturowe wielogłos zakorzeniony jest na pograniczach etnicznych w Karpatach i na ziemiach wschodnich, gdzie tradycje polskie stykają się z litewskimi, białoruskimi i ukraińskimi. Obok praktyk spontanicznych – paralelizmów tercjowych, kwintowych, oktawowych oraz heterofonii, jako współrozbrzmiewania wariantów – obserwujemy również wpływ chóralnej wielogłosowości, zwłaszcza na Śląsku. Mniejszości narodowe, także na ziemiach zachodnich i północnych Polski, praktykują wielogłos jako wyróżnik podmiotowości kulturowej. Ponadto wielogłos występuje u repatriantów z Rumunii (Górale Czadeccy) i z byłej Jugosławii. Ogólnie, kierując się chronologią względną, możemy wyróżnić trzy warstwy historyczne śpiewu z elementami wielogłosu: 1) heterofonia i diafonia (w kwintach), poświadczana źródłowo od XV wieku; 2) trzygłos mieszany na pograniczu polsko-litewskim (od XVIII wieku); 3) paralelizmy tercjowe w chórach kobiecych, powszechne do dziś na pograniczach etnicznych. Wielogłosowość ilustruje zarówno głęboko zakorzenioną specyfikę kultury (w odniesieniu do muzyki – wielogłos wiąże się z wolnym tempem śpiewu oraz z samowystarczalnością głosu w liturgii prawosławnej), jak i rozwój powszechnej edukacji muzycznej.

19

Cantus fractus und Engelberger Mottetenstil : Zur Frage möglicher Zusammenhänge

60%

Schmid B.

Hudební věda (Musicology)

|

2016

|

vol. 53

|

issue 2-3

147-160

XX

Studie Bernholda Schmida se zabývá společnými prvky a odlišnostmi mezi formami cantus fractus a engelberským motetem, které autor dokládá na konkrétních příkladech.

20

Fascynacje pograniczem w dwudziestowiecznej myśli filozoficznej i antropologicznej – Bachtin, Todorov, Buber, Levinas

60%

Orłowski A.

Border and Regional Studies

|

2016

|

vol. 4

|

issue 1

5-23

PL

„Pogranicze” to słowo-klucz współczesnej humanistyki. Rozumiane szeroko (biorąc pod uwagę zarówno jego aspekt geograficzny, kulturowy jak i interpersonalny) dotyczy wielu paradygmatów współczesnej nauki. W niniejszym szkicu kategorię pogranicza powiążemy z myślą filozoficzną Michaiła Bachtina, Tzvetana Todorova, Martina Bubera i Emmanuela Levinasa. Pogranicze to spotkanie „ja” z innym (tym „ja” lub innym może być jednostka, grupa, kultura), nieuniknione i stanowiące o sensie życia, oparte na niewspółobecności (Bachtin, Todorov), odpowiedzialności (Buber, Levinas), pełnym oddaniu, obustronnym wzbogaceniu światopoglądowym (kulturowym), sprawiedliwości, próbie przezwyciężania różnic, rozbieżności w kwestiach fundamentalnych.

EN

,,Borderland” is a keyword, contemporary humanities buzzword, widely understood (regarding the geographical, cultural and interpersonal aspect) concerns of many paradigms of contemporary science. In this essay, the borderland is connected with the philosophical thought of Mikhail Bachtin, Tzvetan Todorov, Martin Buber, Emmanuel Levinas. The borderland is the meeting the „I” with the other (the „I” or the other can be individual, group or culture), the inevitable and forming the meaning of life, based on noncoexistence (Bakhtin, Todorov), the responsibility (Buber, Levinas), the complete devotion, mutual enrichment of worldview (cultural), the justice, the efford to overcome of differences, discrepancies in fundamental issue.

Refine search results

Tęskniąc za wielogłosowością. Agnieszki Nęckiej rozpoznania „literatury nowej i najnowszej”

Contesting the Real World of Budgets: The Polyphony of Organizational Socialization

Face, linguistic (im)politeness and polyphony in Thomas Hardy’s "Far from the Madding Crowd"

Дискурс массовыіх демонстраций

Letter-writing as a communicative practice - polyphony in Finnish emigrant letters in the 19th century

Hybridité et altérité dans Magnus de Sylvie Germain

Композиционная роль диалога в книге Чернобыльская молитва

Une poétique du chaos dans Quand je s’appelle oubli chez Laurent Mauvignier

Mapping Multiple Voices in B. S. Johnson’s House Mother Normal

Polyphonie et vérités multiples, „La Ville en ses murs” d’Esther David : identité et altérité de femmes de l’Inde

Rubrication Patterns in Two Old Nubian Manuscripts from Serra East

Zofia Dobrzańska-Fabiańska, Spór o rolę „modus” i „tonalité” w sztuce kompozycji XVI i początku XVII wieku, Kraków 2013 (= Acta Musicologica Universitatis Cracoviensis 24) Musica Iagellonica ss. 376. ISBN 987-83-7099-187-6

Beyond “Philosophy – Faith” Dichotomy: A Plea for a New Interpretative Opening and Dialogue in Dostoevsky Studies. Response to Elżbieta Mikiciuk

La Caricature littéraire : L’Éducation sentimentale de Flaubert

Stać się sobą. O Narcyzie

Zbrodnia Raskolnikowa – wieczna zagadka

Translating Semiotic “Polyphony” of Texts as a Culture-Formative Creation.Based on the Example of Bulgakov’s The Master and Margarita

Tradycyjny śpiew wielogłosowy w Polsce w perspektywie etnomuzykologii

Cantus fractus und Engelberger Mottetenstil : Zur Frage möglicher Zusammenhänge

Fascynacje pograniczem w dwudziestowiecznej myśli filozoficznej i antropologicznej – Bachtin, Todorov, Buber, Levinas