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ARMIA EUROPEJSKA CZY NOWY WEHRMACHT? PLANY UTWORZENIA EUROPEJSKIEJ WSPÓLNOTY OBRONNEJ W KARYKATURZE POLSKIEJ NA PRZYKŁADZIE CZASOPISMA SATYRYCZNEGO „SZPILKI” 1950–1954

100%

Ślęzak J.

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2013

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nr 1(11)

130-150 (21)

EN

The paper presented a vision of the plan to form a European Defence Community created by Polish caricatures and recounted over political considerations which affected the way the EDC was presented. The main source was caricatures which were published in Polish satirical magazine „Szpilki” from 1950 to 1954 – from when Pleven’s plan was announced to its rejection by France. The author used quantitative analysis which allowed the demonstration of the artists’ range of interests in EDC and to catch plots. The paper is composed of three parts which contain content analysis of the particular caricatures. It allowed for the discovery that the pictures showed the main Polish exter-nal enemies: the USA and West Germany. EDC was presented as their common plan to bring the Wehrmacht back to life. The way EDC was drawn resulted from the fact that Poland was a member of the socialist block.

2

OBRAZ CZECHOSŁOWACJI W KARYKATURACH OPUBLIKOWANYCH NA ŁAMACH CZASOPISM SATYRYCZNYCH „MUCHA” I „SZPILKI” W LATACH 1945–1948

100%

Ślęzak J.

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2013

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nr 3(11)

49-68 (20)

EN

The author presented a vision of Czechoslovakia created by Polish caricatures. The main source was caricatures which were published in Polish satirical magazines „Szpilki” and „Mucha” from 1945 to 1948. The author used quantitative analysis which allowed plots portrayed within the caricatures to be caught. The paper is composed of three parts which contain analysis of the particular caricatures. The first one showed analysis of caricatures which created Czechoslovakia as an enemy of Poland. That vision was connected with border conflicts between the neighbouring countries. The second third parts contain caricatures which presented Czechoslovakia as a friend of Poland. The way Czechoslovakia was presented resulted from the fact that both Poland and Czechoslovakia were members of the socialist bloc countries. The way Czechoslo-vakia was presented changed simultaneously with the changes in the relationships between the neighbouring countries. It was also dependent on the wider context – dependence of both countries on the USSR.

3

Карикатуры в альманахе «Зарницы» как наглядность эмигрантской прессы в Турции

88%

Üçgül S.

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2019

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tom Tom 4 Nr XXIV

33-64

EN

The purpose of the present article is to highlight and analyse the publishing activity and peri-odical press of the “white Russians” in Istanbul on the basis of a description of the certain material – caricatures of the painter V. Khadulin (1883/84–1957) in the “Zarnitsy” almanac published in Constantinople in 1920s.The relevance of the given topic is defined by the place taken by caricatures in the illustrative highlighting of the daily as well as social-political aspects of the emigrants’ life.Painter V.F. Kadulin was successful in demonstrating the information of events, phenomenon, processes and problems of the white emigration in Turkey and, in particular, in İstanbul as well as in Bolshevik Russia through his political and socio-everyday caricatures in a visual satiric image-artis-tic form. In the article, we also give detailed information about the painter himself.

4

Das interkulturelle Potenzial von Karikaturen im DaF-Unterricht

75%

Utri R.

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nr 2

35-47

DE

Pictures/caricatures – as a part of culture are characteristic for a society (nation). In the process where different cultures get in touch pictures may play a role in teaching a foreign language. Introduction into an intercultural topic, intensive discussion – there are many possibilities for a teacher to show his/her students the life in a German-speaking country in its various facets. Caricatures can combine politics, society, religion, culture and sense of humour with an enrichment of the language used in classroom – at the same time supporting the development of the intercultural competence of the students.

5

Kарикатура: объект, его чувственное восприятие и художественное воплощение (на материале романа Ивана Гончарова Обрыв)

63%

Łoskutnikowa M.

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tom 158

93 - 101

EN

The article shows the understanding by Ivan Goncharov of caricature in literature. In his novel The Precipice the writer created two images, directly marking them as caricatures. The comic effect in creation of images of Polina Kritsky and Akim Openkin is formed by means of using several tools of embodying: the portrait details of static and dynamic character, the speech characteristic and the estimations of the heroine (hero) by the storyteller and other characters. The caricature features are attached to comic effect by consecutive exaggeration of the features peculiar to certain type of a person.

6

Famae petitor. Lucan’s Portrayal of Pompey.

63%

Pypłacz J.

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tom 24

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nr 2

97-118

PL

In spite of the fact that Lucan’s sympathies are apparently with the Republicans, his attitude to Pompey, which emerges from the Pharsalia, turns out to be rather critical. Moreover, this criticism actually comes very close to ridicule. Lucan depicts Pompey as a senile and narcissistic leader who dwells on his past success and lives in the world of his own fantasies. Trapped in the vicious circle of his delusions of grandeur, he is rather grotesque than majestic. The harder he tries to enhance his public image, the more pathetic he becomes both in the eyes of his friends and in those of his enemies. The effects of his efforts are, therefore, quite contrary to their purpose. On the one hand, the figure of the senile and deluded Pompey is the caricature of the decaying Roman Republic, whose degeneracy it obviously mirrors. On the other hand, however, Lucan’s grotesque anti-hero is the exact opposite of archetypal epic characters such as Virgil’s Aeneas. Willing yet unable to emulate his literary predecessors, he functions as the caricature of the literary paradigm of a standard epic hero.

7

Gatunek dziennikarski jako determinanta odpowiedzialności dziennikarza. Wybrane aspekty prawne. Część trzecia

51%

Sobczak J. , Kakareko K.

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nr 1 (72)

11-22

PL

Nie stanowi zniesławienia dozwolona krytyka dokonywana w ramach recenzji, polemik publicystycznych oraz w opiniach i charakterystykach służbowych. Musi ona się jednak mieścić w granicach prawa i być zgodna z normami społecznymi. Tłumienie krytyki stanowi przestępstwo z art. 44 ust. 1 i 2 pr.pr. Granice legalności krytyki wyznacza treść art. 41 pr.pr. Pod ochroną prawa prasowego pozostają wszelkie formy satyryczne i karykatury. Przekroczenie granic legalności satyry powoduje odpowiedzialność za naruszenie dóbr osobistych.

EN

Permitted criticism being a result of reviews, journalistic polemics and in opinions and business characteristics does not constitute defamation. It must, however, meet the law and be consistent with social norms. Suppression of criticism is being regarded as an offense under article 44, paragraphs 1 and 2 of the Act of the Press Law. The limits of the legality of criticism are set out in the article 41 of the Act. All satirical forms and caricatures remain under the protection of the Press Law. Violation of the limits of the legality of satire causes liability for the infringement of personal rights.

8

Effekte der Affekte. Das politische Spiel mit dem Gemüt des Rezipienten

32%

Frastikova S. , Demcisak J.

Transfer. Reception studies

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2020

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tom 5

223-252

PL

Głos prawicowego dyskursu populistycznego, który staje się coraz głośniejszy, nie-wątpliwie zasługuje na naszą uwagę. W tym kontekście nasuwają się następujące pytania: co pomaga różnym prawicowym populistom osiągnąć sukces? Z czym i w jaki sposób zwracają się do swojego wyborcy, aby zdobyć jego głos? W artykule omówiono techniki i strategie ma-nipulacji politycznej, w szczególności technikę emocjonalizacji. Skupiono się na dwóch prze-ciwstawnych biegunach na skali emocjonalnej/afektywnej związane z żalem i płaczem lub śmiechem i pożądaniem. Badanie dotyczy materiałów wizualnych (plakatów, występów online itp.) używanych w public relations i posiadających największy potencjał, by najszybciej dotrzeć i wzbudzić zainteresowanie odbiorcy. Analizie poddano efekty wynikające z repre-zentacji i instrumentalizacji afektów i emocji mających wpływać na odbiorcę.

EN

The increasingly louder voice of right-wing populist discourse undoubtedly de-serves our attention. In this context, the question arises: what helps the different right-wing populist subjects to achieve their success? How and how do they address the voters to win their vote? The paper deals with the techniques and strategies of political manipulation, es-pecially with the technique of emotionalization. The focus is on two opposite poles on the emotional or affective scale, which can be associated with grief and crying or laughing and pleasure. The research deals with the relevance that the visual material (posters, online pres-ence, etc.) used by the political parties has on the voter recipients. The study analyzes which effects result from the representation and instrumentalization of affects and emotions and how they can influence the recipient.

DE

Die immer lauter werdende Stimme des rechtspopulistischen Diskurses verdient ohne Zweifel unsere Aufmerksamkeit. In diesem Zusammenhang drängen sich die Fragen auf: Was verhilft den unterschiedlichen rechts orientierten populistischen Subjekten zu ihrem Er-folg? Womit und wie sprechen sie ihre Wähler an, um deren Stimmen zu gewinnen? Der vor-liegende Beitrag setzt sich mit den Techniken und Strategien der politischen Manipulation, insbesondere mit der Technik der Emotionalisierung, auseinander. Im Fokus stehen dabei zwei entgegengesetzte Pole auf der emotionalen bzw. affektiven Skala, die sich mit Trauer und Weinen oder Lachen und Lust assoziieren lassen. Die Untersuchung befasst sich mit dem visuellen Material (Plakate, Onlineauftritte usw.), die Parteien im Rahmen ihrer Öffentlich-keitsarbeit verwenden. Dieses hat das größte und schnellste Potenzial, das Interesse der Re-zipienten zu wecken. Analysiert wird, welche Effekte sich aus der Darstellung und Instrumenta-lisierung der Affekte und Emotionen ergeben und wie sie den Rezipienten beeinflussen können.