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1

Kolei filmowa moc.

100%
Giżycki M.
Kwartalnik Filmowy
|
2012
|
issue 80
214-218
PL
Jak wspaniałym tematem filmowym mogą być koleje, dostrzegli już ojcowie kina, bracia Lumière. Od czasu ich Wjazdu pociągu na stacje w La Ciotat powstały setki filmów o parowozach, torach i pasażerach. Pociąg okazał się też nośną metaforą szybkości, mocy, ale i niepewności czy sytuacji bez wyjścia. Królem wśród filmów „kolejowych” pozostaje do dziś monumentalne Koło udręki Abla Gance’a z 1922 r. Jean Cocteau i Fernand Léger uważali, że historia kina będzie się dzielić na okres sprzed filmu Gance’a i po nim. Awangardowi filmowcy, Alexander Laszlo, Michaił Czekanowski i Jean Mitry, zrealizowali filmy eksperymentalne inspirowane obrazami pędzącego parowozu z Koła udręki i napisaną do nich muzyką Arthura Honeggera. Koleje dla kina to jednak coś więcej niż maszyna, atrakcyjny wizualnie, bogaty w znaczenia temat, nośnik idei. Mamy tu do czynienia z dwoma bliskimi sobie domenami ruchu. Taśma filmowa rozwija się w czasie jak tor kolejowy widziany z kabiny maszynisty. Każdy film jest w gruncie rzeczy podróżą pociągiem z punktu A do punktu B.
EN
Trains are a fantastic theme to be used in film – the founding fathers of cinema, brothers Lumière, certainly thought so. Since their 'Arrival of a Train at La Ciotat Station' ('L’Arrivée d’un train en gare de La Ciotat'), hundred of films dealing with locomotives, tracks and passengers were made. The train became a powerful metaphor for speed, power, but also uncertainty and the situation with no way out. Abel Gance’s monumental 'The wheel' ('La roue' /1923/) to this day remains the king of 'train movies'. Jean Cocteau and Fernand Léger believed that the history of cinema can be divided into the period before Gance’s film, and what happened after. Avant-garde filmmakers such as Alexander Laszlo, Mikhail Chekhanovski, and Jean Mitry made experimental films inspired by the images of a speeding locomotive from The Wheel and the film music composed for the film by Arthur Honegger. However the trains are for the cinema something more than visually attractive machines, connotatively rich carriers of ideas. We are dealing here with two related do-mains of movement. The film tape unwinds like a railroad track seen from the cabin of the train driver. Each film is, essentially, a train journey from point A to point B.
2

‘Transfers’ in Hungarian Literature from Vojvodina

32%
Bence E.
Acta Universitatis Sapientiae, Philologica
|
2014
|
vol. 6
|
issue 1
53-61
EN
The study examines the variants of the postmodern phenomena of literary ‘transfer’ (‘trans-correspondence,’ ‘transpass’) and their relationships with Hungarian literature (in Vojvodina) from the beginnings (the creative tradition of Kornél Szenteleky’s oeuvre) up to the events of present-time literary history (e.g., to the publication of Esti by Péter Esterházy). Referential aspects (the literary themes of the railway, the train, the change of trains), specific contexts (e.g., Kornél Esti as a contextual ‘transferring’ literary character) and metaphorical contents (e.g., the meanings of the straight line and the plane in the literature of the region) come into the focus of our research. Another significant aspect of the research is the interpretation of the intricate web of cross-cultural ‘transfers’ (between the works of Dezső Kosztolányi-Danilo Kiš-Péter Esterházy). The dominant motif of Central-Eastern European man’s experience of space is the straight line of the flatlands: lacking the sea-experience of the Southern European or of the more southern regions, as well as the related mythical experience of the world, infinity-experience, or reality perceptions hosting unrealities. The trip in this sense is an intermediate form of life: movement towards other shapes. The direction and extent of this movement has always been defined by the ‘straight line,’ the main road, and later the straight line of the railway
3
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Wkład Związku Nauczycielstwa Polskiego w Płocku w dokształcanie i doskonalenie nauczycieli w latach 1945-1989

32%
Cieśleńska B.
Rocznik Towarzystwa Naukowego Płockiego
|
2018
|
vol. 10
55-82
EN
The process of further education and professional development of teachers played a crucial role in the educational system. Structural changes pointed to the path that teachers should follow. Their awareness of constant development was continually connected with education. Teachers felt that good professional skills were based on the development of already acquired education. Full qualifications, professionalism and dedication to the occupation constituted common ground for teacher’s professional development that is a continuous process.
PL
Proces dokształcania i doskonalenia nauczycieli odgrywał istotną rolę w systemie oświaty państwa. Zmiany ustrojowe wyznaczały drogę, którą powinni podążać nauczyciele. Ich świadomość ciągłego rozwoju nieustannie związana była z edukacją. Pedagodzy mieli poczucie, że dobry warsztat pracy opiera się na doskonaleniu już zdobytego wykształcenia. Pełne kwalifikacje, profesjonalizm oraz poświęcenie dla wykonywanego zawodu stanowiły podstawę rozwoju zawodowego nauczycieli, który ma charakter ciągły.
4
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The “Train Situation” as a Metaphor of Elena Dolgopyat’s Work. Russian Variant of Magical Realism

32%
Trojanowska U.
Slavia Orientalis
|
2019
|
vol. LXVIII
|
issue 1
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