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PL
W artykule wyodrębniono i szczegółowo omówiono cztery zasadnicze funkcje, jakie może pełnić bajka w procesie wychowania dziecka w wieku przedszkolnym i wczesnoszkolnym. W części wstępnej zakreślono podstawowe ramy definicyjne w odniesieniu do pojęcia wychowania w kontekście pracy z tekstem bajkowym. Następnie przedstawiono charakterystykę czterech funkcji przekazu bajkowego: 1) epistemiczną; 2) estetyczno-ludyczną; 3)modelującą; 4) terapeutyczną(korektywną).
EN
This article identifies and explores four primary functions of the fairytale narrative in the context of rearing preschool and early school-aged children. First, a framework of concepts is introduced to outline the rearing process considered in the paper. Then, the four functions are described. They are: 1) epistemic; 2) aesthetic-ludical; 3) modelling; and 4) therapeutic.
PL
W artykule wyznaczono ramy teoretyczne metody„ pracy z bajką” jako narzędzia użytecznego w procesie wychowania dziecka w wieku przedszkolnym i wczesnoszkolnym. W pierwszej części poczyniono niezbędne ustalenia terminologiczne i definicyjne w odniesieniu do pojęcia bajki w kontekście pracy z tekstem w procesie wychowania. Dokonano przeglądu metod działań wychowawczych opartych na przekazie narracyjnym. Znaczenie praktyczne ma końcowa część artykułu, w której sformułowane zostały warunki skutecznej pracy z tekstem bajkowym.Mają one inspirować oraz służyć jako zestaw użytecznych wskazówek dla nauczycieli-wychowawców, opiekunów i rodziców pragnących tworzyć własne scenariusze zajęć z dziećmi.
EN
This article outlines the theoretical framework of the fairytale narrative and its applications in aiding the rearing of preschool and early school-aged children. First, a specific set of terminology and definitions for the method presented in the paper is established. Some narrative strategies used in child-rearing are also reviewed. The last part of this article is of practical significance; it illustrates the necessary conditions and steps for the interaction between a child and the fairytale narrative to work. They aim to both inspire and serve as practical guidance for educators, caretakers, and parents, assisting them in the creation of their own narrative environments.
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EN
The aim of this article is to approach a way by which the author construes semantisation of the mother-woman in a mythological-biblical manner, taking into account a neosentimental context of poetics of the analysed text, including the basic motif of the text which is a child’s death. Apart from that, we are referring to an archetypical image of a woman present in Russian folkloristic tradition as well as in a classical 19th century one, especially the image of “a little man”. A basic idea of the short story is not only a description of a tragic calamity, but also, in connection with the text being situated in the aforementioned tradition and its traits of dialogue with it, adding new contents, a proposal of their new interpretation, mainly considering a mother’s image.
EN
The article discusses the methods used to translate phrasemes and proverbs in the Kashubian translation of Ivan Krylov’s fables. The translator, Leszek Szulc, was unable to find some equivalent phrasemes and proverbs in the target language. He translated them word-for-word or described their meaning. Moreover, he also used the compensation strategy and introduced phrasemes in places in which they were absent in the original.
EN
The article discusses two youthful fables of Julian Ejsmond. He analyses them in the context of ancient Greek Aesop’s fables and fables of Jean de La Fontaine. He also exploits fables of Franciszek Dzierżykraj-Morawski and Jan Lemański. He shows transformations of the ancient prototype above all. Fables of Ejsmond are an example of the return to sources, but being parodic redefining the tradition. These fables try to put widespread motifs straight. So occurring relations between texts of different authors, taking the same Aesopian subject up are an object of the work.
EN
The subject of this article are lexical archaisms presented in the fable Caravan by the German writer Wilhelm Hauff, who died in his prime. The purpose of the work is to find an answer to, among others, the following questions: How may the excerpted anachronistic vocabulary be divided? Which parts of speech do occur among the gathered archaisms and what is their structure? The analysed material is categorised into four groups: 1. lexemes with chronological label, 2. lexemes with chronological label and label concerning stylistic range, 3. anachronistic lexemes with label concerning stylistic range and 4. supposed archaisms. In three groups, nouns are the most frequently occurring parts of speech and only in the second group there are more verbs than nouns. Most of the nouns are basic words.
EN
Hans Magnus Enzensberger uses fabulous and fairy-tale motifs in his poetry, as well as refers to myth, legend or topos, in order to show present conflicts. Sometimes he brings a child character into his works, at times adopts a puerile view of the world, mocks at human stupidity, expresses his critical approach to imperfect adult world, but at the same time manifests his negative attitude to global imperialism and social and political relationships prevailing in Germany. He sees in them the end of such values as human dignity, courage to express own thoughts or respect for another human being. Aware of civilisation threats, he fights in his poetry for human subjectivity by referring to the world of childish imagination, fairy tale and myth, in particular to the myth of childhood an parents, which he recalls in order to express his critical approach to declining society being based on money-worship and authoritarian power, which contributes to the objectification of human beings. In this study, using concrete examples, Enzensberger has been presented as a committed poet who tries – like Zbigniew Herbert – to support reality change and improvement in artistically valuable manner.
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Content available remote „Niewygodna dla władzy” twórczość poetycka Antoniego Goreckiego
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PL
Twórczość literacka Antoniego Goreckiego sprowadza się w zasadniczej mierze do tzw. literatury okolicznościowej. Poeta wielokrotnie, przy użyciu pióra, komentował aktualne wydarzenia polityczne i społeczne. Ze szczególnym upodobaniem pisywał bajki polityczne, które przysporzyły mu największej popularności. Gatunek ten, poprzez częste wykorzystywanie tzw. języka ezopowego, stwarzał możliwość przemycania niewygodnych dla caratu treści. Nie zawsze jednak udawało się poecie uniknąć konfliktu z cenzurą, w wyniku czego znalazł się nawet w więzieniu. Co znamienne, twórczość Goreckiego była cenzurowana nawet po jego śmierci, na co przykłady odnajdujemy w lipskich wydaniach zbiorowych Pism z roku 1877 i 1886.
EN
Literary work of Antoni Gorecki essentially resembles so-called occasional literature. The poet repeatedly made comments about the current political and social events by the use of a pen. He wrote political fables which were his real predilection and brought him the most popularity. This genre, by the frequent use of the so-called Aesopian language, created the opportunity to smuggle content inconvenient for the tsarism. Not always, however, did the poet manage to avoid a conflict with the censorship. As a result, he was even imprisoned. Significantly, Gorecki’s work was censored even after his death, as the examples can be found in the Writings of Leipzig collected editions of 1877 and 1886.
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