Search results

1

The Unknown Czycz

100%

Niedziałkowska D.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 1: Literatura polska - Selected Papers in English

69-82

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 1 (2013). The presented material contains the first edition of an unknown story by the writer and poet Stanisław Czycz (1929–1996) with an introduction concerning the history of the work and with the editor’s commentary. The typescript survived in the writer’s home archive. Owing to another archive record it was possible to establish that the humorous sketch was written for a competition organized by the Magazyn Turystyczny Światowid. It was also possible to try to date the text more precisely. The rules of the competition said that its aim was to arouse writers’ interest in the subject of tourism and to win readers for good fiction dealing with this subject. The story is about a Sunday trip to the woods. The protagonist meets his friend who is riding a motorbike and offers him his company. The confrontation of the lover of walking tourism and the motorcyclist ends with the former one winning it. A cheerful tale has the same tone as Czycz’s Krzeszowice stories printed in the Przekrój weekly at that time, and then published in the volumes Nim zajdzie księżyc (Before the Moon Sets) (1968) and Nie wiem co ci powiedzieć (I Don’t Know What to Tell You) (1983). It reveals a different face of the writer, whose debut was the innovative And (1961), and who, after writing Ajol (1967) and Pawana (Pavane) (1977) was called the Polish James Joyce.

2

Researcher trajectories, intersections, and multiple consciousness

100%

Chan A. S.

Dyskursy Młodych Andragogów

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2024

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vol. 25

49-67

EN

This chapter is a reflection on the places and spaces that have shaped my research and my writing. The chapter highlights my research trajectory as a researcher and academic at a university in British Columbia, Canada. Researcher positionality is a key concept in considering my researcher journey. This chapter takes a journey that is highlighted by family history, being Chinese, a settler, and a non-Indigenous researcher working with Indigenous peoples. There are tensions as well as learning experiences that are the results of working in research. These evolve into my awareness of triple consciousness, intersectionality, co-researcher relationships, and how I move forward as a facilitator for change. As a woman of colour and researcher, I examine the multiple locations that have affected my research experiences. The lessons learned from my engagement in different research projects sheds a light on how one can go forward meaningfully, making choices, as a researcher and concurrently navigate community and academic spaces. My research context draws from a focus on diversity, social justice, anti-racism, community-engaged research, and research relationships. This has led me to becoming an activist-researcher.

3

Les non-sens et les sens de l’écriture digressive d’Éric Chevillard. Le cas de Palafox

88%

Maziarczyk A.

Orbis Linguarum

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2018

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issue 50

317–326

EN

Nonsense and sense in the digressive writing of Éric Chevillard. The case of Palafox The novels of Éric Chevillard oscillate between logic and absurdity, due to not only the subject matter but also the rejection of novelistic conventions, which are replaced with a variety of unusual narrative strategies, digressive narration being the most important of them. Frequently used as a narrative mechanism distorting the eventfulness of the text, in his early writing it functions rather as a technique whose aim is to structure the plot in an unusual manner and to highlight its thematic concerns as well as transforming the reader’s traditional reception of a literary text. The present paper discusses these textual functions of digression on the example of Palafax, the novel in which atypical narration tallies with the story being told.

4

Вобраз героя ў аповесцях Андрэя Федарэнкі (на аснове кніг Ланцуг і Ціша)

88%

Alsztyniuk A.

Acta Polono-Ruthenica

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2018

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vol. Tom 4 Nr XXIII

7-17

EN

Andrey Fiedarenka (born in 1959) – author of the books: History of the disease (1989), Misery (1994), Afghan casket (2002), No one’s (2009), The Chain (2012), Silence (2014) and others, winner of many awards, including Jerzy Giedroyc Literary Award. The writer is considered a classic of Belarusian literature. In his artistic work, three basic types of heroes can be distinguished: inhabitants of villages, city dwellers and writers. The presentation of often difficult family relations, differences in characters and life priorities of the heroes become for A. Fiedarenka a pretext for deliberations on the subject of contemporary man’s life, his attitude towards people and nature. In his stories, the writer presents primarily people disappointed with life, lonely, seeking the sense of existence in contact with nature. Only hero-writers can be distinguished from the gallery of poor wretches.

5

Les aspects et les enjeux du silence dans Jacques le fataliste de Diderot

88%

Sassi-Taktak S. B.

Quêtes littéraires

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2017

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issue 7

23-33

EN

The novel presents a variety of writings of silence; but we limit ourselves, in the context of the present work, to the most relevant aspects, namely interruptions in narratives, narrative ellipses and point of suspension as the particular language of silence . These three modalities nevertheless serve aprolix discourse, and are innovative . Suddenly the novel exemplifies what contemporary literature calls the anti-novel

6

Genre variety as indicator of creativity in TAT stories of musicians and visual artists

88%

Pánik M., Čermák I.

Československá psychologie (Czechoslovak Psychology)

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2024

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vol. 68

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issue 3

226-240

EN

Objectives. The goal of this qualitative study is to show the latent potential of the Thematic-Apperception Test in the context of creativity research. The secondary objective is to capture possible differences in the area of creativity and personality of various groups of artists. Sample and settings. The target group was various artists. Thirty artists were divided into three groups according to the type of art and educational attainment. The first group consists of musicians with formal musical education, the second one consists of self-taught musicians and the third group is the most diverse, created by various visual artists. All the members of the third group also have formal education in their field. Analysis. The starting point of this qualitative oriented research is 300 stories created on the basis of TAT, which was openly presented to the participants as a creativity test. Their stories were then further explored to capture and identify characteristics that may indicate the author’s creativity. One manifestation was the variety of genres used by the narrator in a single TAT protocol. Genre analysis of the stories revealed differences in their occurrence among the groups. Results. Visual artists more often created abstract narratives, frequently extending far into the realm of bizarreness. It also seems that autodidact musicians tend to create tragedy-oriented stories and lean towards positive genres only rarely. Limitations. The selection of participants did not avoid certain weaknesses. Part of the sample is made up of participants whom we know in person and only during the collection of data we switched to snowball sampling. The entire research group is also made up of Slovak artists, so all the stories were created in the Slovak language. Many language-specific metaphorical expressions and linguistic nuances related to creativity which are unique to each language and thus would be lost in translation.

7

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”

88%

Prezi G. s. T.

Academic Journal of Modern Philology

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2018

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vol. 7

131-140

EN

Beyond its definition as a story or an account of a sequence of connected events and experiences that is told or written in prose or poetry form in great detail and arranged in a logical sequence, or as the practice and art of telling stories, the narrative holds a special place of honour in the West African literary space. Although comparatively few are gifted in the art of story-telling, many often participate in listening. The griots, as these story-tellers or narrators are called in the countries that make up the Old Mali Empire, still wield some respect in modern times and often tell their stories in huge festival-like settings to the accompaniment of drums and tambourines. From the Senegambia in the West to Nigeria in the East, West Africa has produced literary giants in the narrative art form. Ousmane Sembene’s God’s bits of Wood(1960) and William Conton’s The African (1960) through D.T. Niane’s Sundiata: An Epic of Old Mali (1965) and Camara Laye’s TheAfrican Child (1953) to Chinua Achebe’s Arrow of God (1964) and J.P. Clark’s Ozidi (1966) all follow this narrative tradition. Ịzọn narratives consist of both the oral and written forms. However, this paper will focus on Bina Nengi-Ilagha’s Condolences (2002), Gabriel Okara’s The Voice (1964) and “Little Snake and Little Frog” (1992).

8

A Multidisciplinary Approach to the Actor’s Active Listening

88%

Cozma D.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2023

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vol. 19 (Multifaceted Approaches to Humanities I)

216-236

EN

We know that a sound becomes a meaning carrier only when it is actively listened to. As M. Scott Peck observes, listening is essential, for there is no real communication in the absence of real listening. During rehearsals, the actor/actress immerses him/herself in a state of listening in order not only to develop his/her concentration, observing ego, distributed attention, capacity of identifying with/distancing from a character, but also to establish relationships with his/her self, with the other actors and with the spectators. To briefly analyze the actor’s process of active listening, the present paper makes reference to methods and techniques used in different fields of research such as psychoanalysis, psychology, psychodrama, theatre, paratheatre, storytelling, emphasizing the idea that emotional identification, alienation, self-revelation, reaching physical tiredness play a major role in self-growth. Undeniably, the actor’s explorations and experiments aim at improving his capacity of creating sequences of physical and vocal actions in order to tell every spectator a different story to which he/she reacts according to his/her background, personality and personal experiences. Taking into consideration the phenomenon of neural coupling, we advance the idea that both theatre performance and storytelling might be of significant interest in cognitive science.

9

A well-told story… will covid-19 teach us to listen to a city?

88%

Niezabitowski M.

Muzealnictwo

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2021

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issue 62

163-172

EN

As a result of the pandemic, in March 2020, world museology was cut off from the direct contact with their public. Owing to the introduced regulations, Polish museums were closed down on three occasions (14 March – 4 May 2020, 15 Oct 2020 – 31 Jan 2021, and 20 March – 4 May 2021). When searching for new forms of activity, in 2020, museums made an enormous technological progress, and mastered numerous new competences allowing them to move in cyberspace with ease. The pace at which they introduced various ‘online’ formats is worthy of appreciation. Presently, the time has come to ask whether the effectiveness in reaching the public via such means truly contributed to consolidating a strong bond with them. In order to get the answer to this, it is necessary to critically assess the museum efforts, which will not be possible without researching into the Polish public over that period. Wishing to voice my opinion in the critical discourse on the museums’ activity during the pandemic, I have decided to share my experience from a selected activity of the Museum of Krakow: I have presented the effects of the social Programme titled ‘Stay at Home and Tell Krakow’ (#zostanwdomuiopowiedzkrakow). The Museum created this programme convinced that a city dweller, exposed to the oppression of the pandemic will feel the urge to share his or her experience. Apparently, the appeal made by the Museum of Krakow was eagerly responded to. The Museum received ‘stories’ about the pandemic in different formats: prose, poems, diaries, visual arts, and even musical pieces and artifacts. The results of the ‘Stay at Home and Tell Krakow’ Programme are currently hard to sum up, however, what seems a valuable and worth analysing experience is the focus of residents’ attention on the Museum which they considered an institution trustworthy enough to entrust it their private, often intimate reflections on living through that challenging period.

10

Artystyczna interpretacja postaci H. Skoworody w powieści I. Sriezniewskiego Majorze, Majorze!

88%

Tkaczenko R.

Studia Ucrainica Varsoviensia

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2015

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vol. 3

359-365

PL

This article is devoted to the artistic image of life and the creations of the Ukrainian philosopher H. Skovoroda in I. Sreznevsky’s story. The motivation for the conduct of the protagonist in connection with his philosophy is highlighted. Historicalcultural and comparative methods are applied in the article. I. Sreznevsky offered his own version of the H. Skovoroda’s life and work in his story “Major, Major!” The baroque prototype underwent a romantic transformation. From our standpoint, the image of the philosopher in I. Sreznevsky’s work is far from the psychological truth. However, the author of the story avoided idealizing the hero, much prevalent later, and thus has created a precedent for the controversial interpretation of this fi gure in Ukrainian literature. The features and interpretations of the fi gure of the philosopher are presented from the perspective of the specifi c creative thinking and awareness of the writer of the prototype, given its genre as a romantic story and a prototype belonging to the baroque.

11

Способи епізації лірики у творчості Василя Слапчука

88%

Chui S.

Studia Ucrainica Varsoviensia

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2017

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vol. 5

135-146

PL

This article reviews current basic methods of lyrics episation in the context of literary genres and forms evolution. The role of the poetry size accompanied by epic characteristics, such as diff erent descriptions, additional characters and plot elements are discussed. The study analyzes poetry peculiarities caused by narration, in particular, the narrator type and narrative. The author uses the narrator typology, proposed by W. Schmid. The poetry composition peculiarities related to the plot are defi ned. The article reveals the uniqueness of time and spatial relations and the function of descriptions and additional characters in poetry. It also investigates the infl uence of genres characters borrowed from traditional epic on the generic nature of poetry. The correlation of certain poetries with the genres of parables, fairy tales and fables are partially examined.

12

La reformulation du récit : relations texte ‒ discours ‒ langue dans l’optique didactique

87%

Karpińska-Szaj K., Lewandowska A., Wojciechowska B.

Studia Romanica Posnaniensia

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2019

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vol. 46

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issue 2

123-140

EN

The interweaving of textual, discoursal and linguistic narrative data depends on the pedagogical aims and characteristics of the learner, for whom working with a text is an opportunity to develop linguistic communicative competences and learning competence. The aim of the article is to assess the pedagogical value of the experimental procedure focused on the task of reformulation of narrative texts (stories) offered in two pedagogical contexts at beginners’ level. The analysis addresses text characteristics (the narrative scheme) and the language structures used in the performance of the reformulation task, which, in its particular context, has the value of strategic learning/teaching.

13

Ludzie – opowieści. Dialog – wywiad – zbliżenie. Casus audycji „Biuro Myśli Znalezionych” w Programie 3 Polskiego Radia

75%

Bachura-Wojtasik J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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vol. 39

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issue 1

101-117

EN

The aim of the article is to discuss one of the best known journalistic genres – the interview [in its oral form], with particular attention on one of its varieties, i.e. the personal interview. To illustrate this, I have used selected editions of the programme “Biuro Myśli Znalezionych”, broadcast on Program 3 Polish Radio. In considering this, I begin from dialogue as a form of expression which I treat as synonymous to a conversation. The interview, as one of the bases for the conduct of dialogue in the media, rests on the derivative realisation of mechanisms of dialogic interaction as well as of structures of exchange. I also draw attention to the fact that in certain situations the personal interview can constitute a kind of bridge between radio PR and artistic forms and be the starting point for radio documentary.

14

Césure et sublime

75%

Bieńczyk M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

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issue 8

327-331

EN

Having written The Joke, Kundera changed the modus vivendi of the novel’s narrator who, with time, became a separate protagonist. This is connected with the appearance of the ellipsis as the main plot device, which is not yet present in The Joke. This change in the way of narrating represents another and, perhaps, a deeper dividing line in Kundera’s writing than switching to another language (from Czech to French), the change of the setting (from Czechoslovakia to Western countries) and the change of the political system (from communist to ‘imagological’) as an instrument of oppression.

15

The oak tree

75%

Kaźmierczak M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 9

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issue 17-18

107-111

EN

The oak tree The text titled The Oak Tree is a true story told by Kazimiera, a woman who in 1941 saw the bodies of murdered Jews being dumped into a common grave in a forest in Western Poland. This text refers to the work of memory and to the work of narration in the context of representation of the Holocaust. This text opens a question about the limits of commemorating and abusing of the past hidden in words and in silence.

16

Culture, events, speech genres and stories

75%

Michalovič P.

Human Affairs

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2011

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vol. 21

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issue 2

98-107

EN

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher-and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a literary scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later.

17

Short story The Root of All Evil Грэма Грина: жанр и поэтика

75%

Al Ateya M. M.

Path of Science

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2018

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vol. 4

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issue 9

1001-1008

RU

Статья рассматривает проблему жанровой атрибуции short story The Root of All Evil Грэма Грина, которую именуют то новеллой (французская критика), то рассказом (русскоязычная критика), и взаимосвязь ее поэтики с жанровой моделью. Важность и актуальность решения поставленной задачи заключается в том, что это первое исследование жанровой специфики и поэтики одной из гриновских short stories, написанных в комическом модусе, которое открывает перспективу комплексного изучения всего корпуса его малой прозы (до сих пор не изученной). Исследование опирается на теорию жанра (М. Бахтин, Н. Лейдерман, Р. Уэллек и О. Уоррен и др.), согласно которой жанр является формой художественного познания мира, обладает жанровой памятью (семантическим ядром жанра) и задает параметры художественного миромоделирования и прочтения текста, а также использует генологические, текстологические, структурно-аналитические и нарратологические принципы анализа, что позволило сделать следующие выводы. Во-первых, наличие в произведении таких характерных для жанра новеллы признаков, как необычное происшествие или «казус», лежащие в основе сюжета; одна доминирующая сюжетная линия и динамизм развертывания событий с их аккумуляцией; неожиданный сюжетный поворот (новеллистический пуант) и комическое начало, присущее значительному количеству новелл. Во-вторых, смысловое содержание произведения отвечает художественной модели именно новеллистического жанра, для которой характерно осмеяние недолжного, ущербного, ложного (в данном случае религиозного догматизма) и утверждение здоровой и полноценной стихии бытия. Использованная в работе методика и полученные результаты представляются перспективными как для дальнейшего изучения малой прозы Грэма Грина, так и для аналогичных сфер исследования.

EN

The article considers the problem of genre attribution of the short story The Root of All Evil by Graham Greene, which is defined as novella by the French criticism and as a story by the Russian criticism, and correlation of its poetics with the genre model. The importance and topicality of solving this problem lies in the fact that this is the first study of the genre specificity and poetics of one of Greene’s short stories written in the comic mode, which opens the prospect of a comprehensive study of the whole body of his short prose (not studied yet). The research is based on the theory of the genre (M. Bakhtin, N. Leiderman, R. Welleck and O. Warren, etc.), according to which the genre is a form of artistic cognition of the world, has genre memory (the semantic core of the genre) and sets the parameters of the artistic world-modeling and reading of the text, and also uses the genological, textual, structural-analytical and narratological principles of analysis, which allowed to make the following conclusions. First, the presence in the work of such characteristic features of the novel genre as an unusual case or incident underlying the plot; one dominant storyline and the dynamism of unfolding of events with their accumulation; an unexpected turn of the plot (novelistic pointe) and a comic beginning inherent in a significant number of short stories. Secondly, the semantic content of the work corresponds to the artistic model of the novelistic genre, which is characterized by a mockery of the undue, defective, false (in this case religious dogmatism) and the assertion of a healthy and full-fledged element of being. The method used in the work and the results obtained are promising both for further study of Graham Greene’s small prose and for similar fields of research.

18

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.

19

Narrativity and Evangelization

75%

Hajduk R.

Studia Elbląskie

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2014

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vol. 15

117-128

EN

To evangelise is to proclaim Jesus Christ, that is, to tell people the story of the eternal word of the Father, which became flesh and has since permeated the history of humanity. Christians preach the Gospel with the help of stories, because the ultimate word that God addresses to humanity is the story of Jesus, the Son of God. There is great performative power in novels: although they do not demand or command anything, they prompt their addressees to reflect on themselves and their attitudes, and then to open themselves up to the action of God and change their lives. The Good News of salvation in Jesus Christ, told to the world will move its audience when the stories told to people are true and provide a respond to the deepest human need. Evangelisers must tell the story of God's saving God's saving love in a clear and interesting way, respecting human freedom in deciding for or against Christ. for or against Christ. Such a proclamation of the Gospel guarantees that the Christian message will be listened to and accepted by people with all their souls (cf. EN 23).

20

Ukrainian model of thinking in Taras Shevchenko’s story “Naimychka”

75%

Fan R.

Studia Polsko-Ukraińskie

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2022

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vol. 9

79-87

EN

The article is devoted to the analysis of the thinking model in the story “Naimyсhka”. It is emphasized on the strong Ukrainian national features of this model and their representation in the ideological and thematic spectrum, the system of images, numerous Ukrainianisms in the Russian language of the work, the description of folk customs, traditions, rites, travel notes introduced into the text. Each factor is analyzed in this paper. It is highlighted the Ukrainian perception of life by the heroes of the story, their expressed national mentality.

Refine search results

The Unknown Czycz

Researcher trajectories, intersections, and multiple consciousness

Les non-sens et les sens de l’écriture digressive d’Éric Chevillard. Le cas de Palafox

Вобраз героя ў аповесцях Андрэя Федарэнкі (на аснове кніг Ланцуг і Ціша)

Les aspects et les enjeux du silence dans Jacques le fataliste de Diderot

Genre variety as indicator of creativity in TAT stories of musicians and visual artists

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”

A Multidisciplinary Approach to the Actor’s Active Listening

A well-told story… will covid-19 teach us to listen to a city?

Artystyczna interpretacja postaci H. Skoworody w powieści I. Sriezniewskiego Majorze, Majorze!

Способи епізації лірики у творчості Василя Слапчука

La reformulation du récit : relations texte ‒ discours ‒ langue dans l’optique didactique

Ludzie – opowieści. Dialog – wywiad – zbliżenie. Casus audycji „Biuro Myśli Znalezionych” w Programie 3 Polskiego Radia

Césure et sublime

The oak tree

Culture, events, speech genres and stories

Short story The Root of All Evil Грэма Грина: жанр и поэтика

Optymizm i wojenna zawierucha. O wybranych lirykach Krzysztofa Kamila Baczyńskiego

Narrativity and Evangelization

Ukrainian model of thinking in Taras Shevchenko’s story “Naimychka”