Wyniki wyszukiwania - Biblioteka Nauki

1

VERBAL VERSUS VISUAL: FROM CO-OCCURRENCE TO HYBRIDIZATION

100%

Garncarek M.

Kultura i Społeczeństwo

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2004

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tom 48

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nr 4

65-83

EN

The authoress analyzes various forms of interaction between verbal and visual messages. It is very common nowadays to assume that we live in the 'civilization of image' that minimizes the role of traditional verbal messages. Though, various cases of verbal-visual structures let us presume that instead of monopoly of one kind of message, we rather have to deal with intermediacy. It is argued that the new model of interaction between verbal and visual forms has been introduced: both kinds of elements not only coexist in the same message, but penetrate each other in order to create a new hybrid construction as, for instance in: the press photography with captions, the dynamic typography and the hypertext. The article pays special attention to the theoretical background - the postmodern turn in semiotics: Lyotard's figure is opposed to Barthes' modern theories.

2

Obraz Čechů v polské společnosti. Příklad Haliče

80%

Baron R.

Slovanský přehled: historická revue pro dějiny střední, východní a jihovýchodní Evropy (Slavonic Review: Review for Central, Eastern and Southeastern European history)

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2009

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tom 95

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nr 2

279-288

EN

In the Czech historiographical works that have been published to date, due attention has not been paid to Czechs in Galicia. The partial attempts made, whose goal was to evaluate the part Czechs have played in the cultural and social life of Galicia during the period of the Austrian monarchy and from the second half of the eighteenth century until 1918, have been published, and continue to be produced mainly in the milieu of contemporary Ukrainian researchers and Czech compatriots living in Lvov. Both of these groups have also shared in the preparation of a biographical dictionary with the title 'Cesi v Halici' (Czechs in Galicia), which was published in Ukrainian in 1998. In 2007, the association called Czech Gathering (Ceska beseda) in Lvov published an exhaustive edition of its documents for the occasion of the 140th anniversary of their founding. In order to annex the territory of Galicia to the Austrian state in the second half of the eighteenth century, Vienna began to send its officials there, and among them, Czechs played a very significant role. As Slavs, they could more easily understand the Polish, Ukrainian or Ruthenian dialects of the local inhabitants. During the nineteenth century, besides the members of the diverse bureaucratic corps, there were also Czech tradesmen and craftsmen, merchants, intellectual and scientific workers, musicians, industrialists, brewers, physicians, foresters, railway workers and, fewest of all, also some peasant farmers. The influence of Czech-nationality officials was vital in forming a negative image of Czechs in Polish society. Poles, mainly from the ranks of the nobility and bourgeoisie, perceived them as an instrument of oppression from the side of the occupation; that is, the Austrian state. Their negative attitude and experiences are reflected in the numerous Polish memoirs describing that era. The so-called 'Galician brawls' were extremely significant in this context. These were where farmers who were supported by Austrian bureaucrats squared off in bloody conflict with Polish insurgents, participants in the Krakow Uprising. The subject of the image and stereotypes of Czechs in Polish society in Galicia was treated in literature by the famous Polish writer and publicist of German origin, Jan Lam (1838-1886), who composed the novel 'Wielki swiat Capowic' (Great World of Capowice) in 1869. The topic presented here is scholarly from the very beginning and remains a worthy task for further research.

3

Człowiek — język — świat według współczesnych polskich tabloidów (zarys problematyki)

80%

Ożóg K.

Oblicza Komunikacji

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2011

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tom 4

73-84

EN

We are witnessing a growing popularity of tabloids in Poland. This is a result of two phenomena that will be the subject of my analysis: first, the content tackled by the tabloids, second — the way it is disseminated, characterised by the dominance of the image over the word. The article presents the results of research into the language of two Polish tabloids, Super Express and Fakt. Using the language of these tabloids, I analyse the most important vectors in the vision of the world and the image of humanity they propose. The research has shown that Polish tabloids present a vision of humanity and the world characterised by such categories as sensationalism, extraordinariness, commonness and shocking content. The system of values they present is highly relative. These newspapers, targeted at a wide public, use a colloquial language to a large extent.

4

THINKING THROUGH IMAGES: COGNISING THE WORLD OF EMILY DICKINSON

80%

Pokrivčák A. , Pokrivčáková S.

World Literature Studies

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2011

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tom 3 (20)

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nr 3

72 - 84

EN

The article is an attempt to approach the poetry of Emily Dickinson through some of the principles of cognitive literary studies. In the first part the focus is placed on the first approaches to literary cognition in Slovak literary theory and on the nature of cognitive literary studies. The second part is a reading of some of the poems of the 19th century American poet Emily Dickinson from the point of view of traditional criticism as well as cognitive literary studies, with a particular emphasis on the way the writer cognises the world around herself. Her poetic vision is presented as iconic expressions of mental experiences aimed at gnomic compression of the final image. She is characterised as a poet who “thinks through images” and her poetry as a fusion of the conceptual and figurative search for the truth.

5

Poetics in the world of digital domains

80%

Szczesna E.

Teksty Drugie (Second Texts)

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2006

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nr 4(100)

219-238

EN

By creating new ways in which a text functions, and new textual genres and forms, digital technologies make poetics describe them, provide some tools with which to investigate them, indicate shifts and re-interpretations to be found in the way the text functions, and, set the directions of text's development. The basic discriminant of digital texts is their interactive nature. Related with it are a new sending-receiving situation and a modified text authorship category (exchangeability and accumulation of sender-receiver roles, the category of user, anonymous authorship, several authors). The presence of hypertextual links causes that a text can be read not only linearly but also, 'deeper down into it', simulating a three-dimensionality of a virtual text.. Poly-semioticality and striving for a maximum simplification of the communication process favour phenomena such as: verbalisation of image, iconisation of word, or, creating inter-semiotic figures.

6

OD USTAĽOVANIA OBRAZU K JEHO ROZRUŠOVANIU: REFLEXIA ČASOPISU HLAS A PRVEJ FÁZY HLASISTICKÉHO HNUTIA

80%

Draganová A.

Slovenská literatúra (Slovak Literature)

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2020

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tom 67

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nr 5

413 – 432

EN

The magazine Hlas, published between the years 1898 and 1904, had a significant impact on the political, social and cultural context at that time. Thinking in Slovakia in the 20th century was formed in relation to the magazine and its legacy on several levels. The goal of the paper is to carry out a survey of the reflections on the Hlasist movement, consciously constrained to the field of literature and literary science, although occasionally making inevitable references to a wider context of social science. The sources and texts analysed are divided here into four areas based on the time of creation, author´s position, text strategy assuming a target group, genre and interpretation range. The aim of the analysis is not a review of the stereotypes used to interpret the Hlasist movement so far but an attempt at new reading based on the latest methodologies. A new reading of the texts indicates the literary historical process of creating the image of the Hlasist movement. It also defines the nature of the tools used by individual authors to create the given image (e.g. legitimization, canonization, ideological interpretation, subversion of the traditional interpretation etc.).

7

Moc obrazu: vizuální poezie Václava Havla

80%

Steiner P.

Estetika: The Central European Journal of Aesthetics

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2007

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tom 44

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nr 1-4

107-124

EN

The author seeks here to link Havel's well-known dramatic output with his visual poetry, which is far less known. The notion of the double bind, the author argues, is a predominant trope of Havel's oeuvre. By applying Grelling's paradox to Havel's visual texts, the author illustrates the techniques Havel uses to produce logograms whose visual representation contradicts the verbal message conveyed by them.

8

OBRAZ - ČAS VO FOTO – ROMÁNE CHRISA MARKERA RAMPA (LA JETÉE, 1962)

80%

Fehérová D.

Slovenské divadlo (Slovak Theatre)

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2012

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tom 60

|

nr 4

435 – 444

EN

The study deals with and analyses temporal relationships reflected in the technical images – still photographs and films. It describes the means of how the visual elements in both, photography and film shot relate to the perception of subjective, artistic and intrinsic time. On the example of the French film / photo-novel The Pier (directed by Chris Marker, 1962), the author of this paper derives the variable temporal relationships, captured in the still image of a single photograph and subsequently as part of a photography series, or in a single film frame, and then within the larger narrative unit or in other words within the sequences of shots. At the same time, on the examples of the film and in accordance with the theoretical concepts of Gilles Deleuze (1985), the author defines immediate time - image, based on the simultaneity of the three implicated presents: a presence of the past, a presence of the present and a presence of the future.

9

JOHAN HUIZINGA AND MAX DVOŘÁK ON IMAGES: A SHARED INTEREST IN MEDIEVAL IMAGES IN AND AROUND 1919

80%

Gerát I.

World Literature Studies

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2017

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tom 9

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nr 1

31 – 40

EN

Huizinga’s contribution to the understanding of late medieval artistic cultures can be productively compared with the treatise Idealismus und Naturalismus in der Gotischen Skulptur und Malerei, published in 1918 by the famous Viennese art historian Max Dvořák. The author ś paper will focus on the polarity between naturalism/realism vs. idealism/symbolism clearly present in both texts. His comparison will focus on the following questions: 1. What was the exact meaning of the concepts? 2. How had they been rooted in various philosophical traditions? 3. How do they appear in the light of recent criticism?

10

TOTÁLNY OBRAZ. CHVÁLA MYSLENIA

80%

Sucharek P.

Filozofia (Philosophy)

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2016

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tom 71

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nr 6

487 – 493

EN

The essay is an attempt to think about the problem of thinking and its status. We want to find out whether thinking – not a thinker! – can or cannot be proud of itself. What is thinking doing when it is thinking (about an idea)? What is thinking and where is the idea? We primarily focus on by what thinking is transformed and formed. The term “event” has been chosen for this task. Who has, however, seen the event? Is there any possibility to imagine experience or make the event present in any particular way? Can thinking, in a certain moment, adhere to an idea in such a way that it becomes the idea and that it occurs? And what happens with the idea when such an event occurs?

11

Frontal cortex, laterality, and memory: encoding versus retrieval

80%

Kavcic V. , Zhong J. , Yoshiura T. , Doty R. W.

Acta Neurobiologiae Experimentalis

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2003

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tom 63

|

nr 4

337-350

EN

The cerebral hemispheres differ in their capabilities and response to verbal versus nonverbal visual material. A priori, it might thus be expected that the right hemisphere would be best activated during a mnemonic task with fMRI when using nonverbalizable images, and the left hemisphere with verbal material. However, previous psychological tests had shown a high degree of similarity in measures of memory for these disparate items. It was thus hypothesized that extensive commonality in the areas activated would prevail when this previously tested material was employed with fMRI. Six subjects underwent fMRI with four types of trials in blocks: fixating; passively viewing 12 words and 12 nonverbalizable images; endeavoring to remember (encoding) another set of 12 words and images; endeavoring to recognize (retrieve) previously viewed words or images. Passive viewing produced small islands of activation in left versus right frontal cortex for words and images, respectively. Endeavoring to remember enlarged the areas of activation and produced some bilaterality. Retrieval greatly augmented activation as well as bilaterality, and some 20% of the activated frontal volume was shared by words and images. Thus, on the one hand, the distribution of activation upon retrieval differed substantially for words versus images, but on the other, as predicted, there was considerable commonality. Predominant laterality of activation in some areas shifted between encoding and retrieval (HERA), importantly involving different regions for words versus images. Of course, processes other than memory per se are undoubtedly involved in these distributions of fMRI activation in frontal cortex, yet the nature of the to-be-remembered items is clearly a major factor, in accord with the asymmetric lateralization in their basic representation.

12

Rock - Stylisation - Intertextuality

80%

Rychlewski M.

Teksty Drugie (Second Texts)

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2006

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nr 4(100)

191-204

EN

This article discusses the phenomenon of intertextuality of rock music. As opposed to literature, rock is multi-code in nature, as it is a conglomeration of music, word, and image. Hence, the question of intertextuality of rock should be considered in reference to all those codes in parallel. The essay does not consider stylisation and intertextuality as separate issues; instead, the former is approached as a variety of the latter, whilst both are seen as a common area of intertextual relations. The author is primarily interested in the subject of intertextual references (high/popular/folk/exotic/rock culture) and, secondly, in the actual aim of those references, in rock's attitude toward high-artistic culture, pop culture, folklore, exoticism, and, its own tradition.

13

„Strhnutí romantické roušky“. Černá Hora a její politická scéna očima časopisu Slovanský přehled, 1898 – 1914

80%

Sistek F.

Slovanské historické studie (Slavonic Historical Studies)

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2007

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tom 32

311-329

EN

This paper analyses the changing representations of Montenegro and its political scene on the pages of the Slovansky prehled (The Slavonic Review), a Czech monthly magazine before the First World War. Before 1905, the paper presented a traditionalist, romantic vision of Montenegro as a poor but happy land of heroic Slavic warriors, personified in the fatherly figure of its ruler, Prince Nikola. After the first Montenegrin constitution introduced parliamentarian regime in 1905, the new political tensions were reflected in an increasingly critical coverage of that country and especially Prince Nikola, whose autocratic rule was presented as an obstacle on the road to democracy after 1906-1907.

14

Znaczenie produktów lokalnych w budowaniu wizerunku gmin powiatu Nisko

80%

Grzybek M. , Kawa M.

Journal of Agribusiness and Rural Development

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2012

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nr 4(26)

5-15

EN

The article is a characterization of local products, creating an image of Krzeszów, Rudnik and Ulanów municipalities of the Nisko county, in the Podkarpackie province. The study of 500 inhabitants showed that knowledge of these products is varied. The best known were: plum jam from Krzeszów, wickerwork from Rudnik, and rafting bread and rafting tradition cultivated by inhabitants of Ulanów.

15

THE ETHNIC SELF-IMAGE OF 'BABA': BETWEEN TALE AND TRUE STORY (ON THE PROBLEM OF GENDER ROLES IN BELARUSSIAN TALES)

80%

Cherniavska Y.

Slavia Orientalis

|

2006

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tom 55

|

nr 3

373-387

EN

When analyzing Belarussian tales, the 'Baba' (peasant woman) represents the image of the Other in the structure of the ethnic self-image. When comparing to the modest, industrious, kind 'Mouzhik' (peasant man), the 'Baba' appears a peevish, greedy, malicious, and lazy creature. The question is why the Baba's image completely differs from memoir image of the true woman? The authoress looks for the answer at two levels of analysis, textologic as well as structural and functional. At the first level, the Baba's features can be explained as her original connection to evil. From the structural and functional point of view, the Baba is a necessary component of the ethnic self-image because she provides background for the Mouzhik, and other characters appear from the darkness of 'the ethnic self-conscious' to the level of rationalization of their true features and gender roles. Contrary to the common point of view about equality in the relationship between the man and the woman, tales demonstrate women's inequality in traditional Belarussian culture. This proves the masculine character of peasant culture in Belarus.

16

Application of digital image analysis for the investigations on the morphology and physiology of filamentous fungi

80%

Bizukojc M. , Ledakowicz S.

Biotechnologia

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2003

|

nr 3

207-232

EN

The possibilities given by the digital analysis of microscopic images in the area of the investigation of morphology and physiology of filamentous fungi are presented in this article. At the beginning, theoretical background of the digital image analysis from the form of the image, through the mathematical functions used for their processing, to the determination of the objects? dimensions are described. In the second part of the article, practical application of the discussed techniques was presented on the basis of the investigation of physiological and morphological properties of Aspergillus niger in the process of citric acid biosynthesis.

17

FILMOVÝ OBRAZ

80%

Ciel M.

Slovenské divadlo (Slovak Theatre)

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2012

|

tom 60

|

nr 1

3 – 12

EN

The term image relates to the reference of the film to reality. It is one of the principal areas of the considerations of film theoreticians. The subject of image occurs in the early beginnings of the film theory having been hitherto verified by various speculations. It is about finding the most exact denomination of film in volatile and changing environment and whether is it technological or methodological. History of examination of the image thus replicates history of cinema and allows quite accurate understanding of its perception and the changes of its perception throughout its performance. Many elements of the fundamental characteristics of the image are often repeated by several theoreticians, but there are also many points in which their views differ. Unlike conventional signs, such as words, the film signs in the image do not automatically comprise into chains. They are surrounded by a wide semantic area with the different interpretations in the different cultures and times. How film creates meanings and how and why are we captivated by these meanings – these are the basic questions of a film theory. The film image is a material phenomenon, which objectifies through film ability of reproduction subjective idea of the author´s signs in the image. The chain of communication depends on how the viewer comprehends the meaning. Unlike an abstract art, the film (with the exception of some experiments) must operate with reality. It is important how the film can encode it and make it exceptional. It gives a new or a different view and particularly, sort signs forming the images into the contexts.

18

POJEM, OBRAZ A MEDIALITA

70%

Bystřický J.

Filozofia (Philosophy)

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2009

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tom 64

|

nr 5

429-435

EN

The paper deals with the problem of concept and image as independent forms of mediating the thought. A specific role in incorporating the media of concept and image into the system of thought is played by the mediality itself, which operates as an entity mediating between heterogeneous worlds. The symbolized messages of the concept and image thus represent using the dispositive of representation between the visual and intellectual worlds. The author takes the concept as the initial form of thought, which describes the object from the perspective of its being without making any propositions about it; the image, on the other hand, is taken as a sensory representation of the object. However, each of them is only a particular form of mediation. Representing a concept thus means taking the thought as a conceptual representation.

19

IMAGES FROM THE PRODUCTION LINE. CONSTRUCTING SAINTS’ LIVES IN THE HUNGARIAN ANGEVIN LEGENDARY

70%

Szakács B. Z.

ARS

|

2011

|

tom 44

|

nr 2

182-193

EN

The article analyses the Hungarian Angevin Legendary, a 14th-century Bolognese luxurious codex ordered by the Hungarian royal court (now kept in Rome, New York, Paris, St Petersburg, and Berkeley), even in its fragmented state belonging to the richest illuminated manuscripts of saints’ lives. In the first part of the paper, the individual pictorial elements constituting the structure of a picture are analysed, continued with the problem of repetitive compositions in the second part.

20

GOD IMAGE AND ATTACHMENT TO GOD IN WORK ADDICTION RISK

70%

Kézdy A. , Martos T. , Robu M.

Studia Psychologica

|

2013

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tom 55

|

nr 3

209 – 214

EN

This study aimed to investigate whether certain aspects of the God image, and characteristics of attachment to God, can be related to work addiction risk. The sample consisted of 215 Hungarian adults (mean age 37.9). Regarding the two measured aspects of the God image, the Loving God image was linked with work addiction risk through its weak negative contribution to self-esteem, whereas the Controlling God image was in a weak direct association with work addiction risk. Anxiety about abandonment by God showed a strong positive correlation with work addiction risk, and also predicted it negatively through self-esteem. The results suggest that anxious attachment to God might contribute to work addiction risk.