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1

Повтор как средство выражения эмоций (на материале русского и польского языков)

100%

Чапига З. , Жешувский университет (Польша)

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2014

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tom 10

EN

The present paper is devoted to the problem of repetition as a means of expressing emotions on the syntax level in Russian and in Polish. Not only individual lexemes can be repeated, but also phrases with the predicative function or even whole sentences. The number of repetitions may also vary – double ones are most common in both languages under investigation, multiple ones are rare in the data. Triple repetitions are relatively popular only in the Russian material. Repetitions are usually accompanied by other means of expressing emotions: exclamatory intonation, particles, emotional exclamations, comparative and superlative forms of adjectives and adverbs, comparisons, etc.

2

„DER REDE INTERIEUR“. ZUR FRAGE DER INTRA - UND INTERTEXTUALITÄT IN OSWALD EGGERS POEM „HERDE DER REDE“

88%

FELIP E. d.

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

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2011

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tom 3

57-82

EN

This essay analyses and reflects upon the numerous intra- and intertextual references in Oswald Egger’s long poem “Herde der Rede” (1999). The recourse to prior literary models in terms of surprising reversals of form and content, self-quotations as well as reversals of his own figures of speech are counted among Egger’s distinctive poetic strategies. Alert − like a widely open ear – to voices from different religious and poetical traditions, the text perceives, integrates and plays with different poetic registers and language worlds (such as the Song of Solomon, the ancient Corpus Hermeticum, Hesiod, Vergil, Hölderlin, Rilke …). “Herde der Rede” is a highly dialogic and polyphonic text (in the sense used by M. M. Bakhtin). Ultimately, quotations, repetitions and reversals become strategies of a poetic discourse which uses literary and religious traditions as subtexts for a metapoetic speech.

3

W kręgu pryncypiów w studiach nad triadą: język – obyczaj – wspólnota

88%

Borawski S. , Uździcka M. , Zielonogórski U.

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tom 048

EN

The principles in the study of the triad: the language – custom – community Studies of the triad language – custom – community is a synthesis of two parallel research traditions: research centre of Łódź, which is known from studies of the custom – language relationship and research centre o Zielona Góra, famous from its studies on the communitylangugae relationship. In these studies, the starting point for all kinds of considerations are questions about language and the way it is used. Therefore, language is considered as a social tool, cultural storage, a certificate of civilizational changes, track of time and space. Custom and community, however, indicate the attitude of research and define the order of the auxiliary sciences within such language studies. It is very important to remember that one should speak about the custom both in community and individual sense every time when there is a repetition or imitation of the behavior and actions caused by identical communicative needs. That repetition and imitation manifests on all planes or layers of texts: from word formation, the phraseology and syntax, to the genre; it also addresses the functional behavior, fashions and stylistic treatments.

4

La forme de la litanie comme cadre: le cas du lai et d’autres genres littéraires médiévaux

88%

Kowalska M.

Zagadnienia Rodzajów Literackich

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2016

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tom 59/118 z. 2

31-49

EN

This paper aims to search for the traces of how the meter of lai interferes or cooperates with the form of a litany. The research will be conducted on the basis of medieval French literature from first paraphrases of litanies in vernacular language to popular literary genres like for instance roman, dit, alba to lai included in Mélusine of Coudrette. The question of infinity of the form of litanies — which are the forms established on the repetition and the enumeration — is raised with the conclusion that when the lai differs from the rest of a literary work by the metrical pattern, the sign of the end of the structure, in other examples relatively weak, becomes evident.

5

Pytanie o sens (w) edukacji. Grondinowska semantyka sensu i jej pedagogiczne egzemplifikacje a antyredukcjonizm hermeneutyki kształcenia

75%

Przanowska M.

Kwartalnik Pedagogiczny

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2015

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nr 2(236)

30-55

EN

The article begins with a short presentation of an interesting semantics concerning the notion of sense from Jean Grondin’s book Du sens de la vie. Essai philosophique. The author singles out four aspects of sense: directional, semantic (the issue of lingual meaning and values), sensous/sensory (connected with taste, sensus communis) and reflective (connected with the wisdom to judge rightly). Grondin suggests considering the issue of the sense of life not as something added, imposed to life (the constructivist perspective) but rather as something to be discovered, or read from within our experience. In the context the most important question about the sense of education has been posed. The main conclusions of the text are as follows. Contemporary education seems to be reduced to different forms: techno-instrumental, moralizing or ideological, aesthetic “French-polished” and bureaucratically statistical. However, hermeneutics can still provide a crucial inspiration for modern education. The hermeneutic rehabilitation of taste in its sense of (re)cognition, savoring (relishing) and understanding of things needs to be (re)discovered within education. It seems that the modern tendency to reduce human reality and human experience to a narrow area of specialisation, might be overcome by a hermeneutic invitation to see things in a wider, non-generalised, horizon. Reducing the sense of education to one of the aspects mentioned by Grondin means to make education something perhaps useful, effective, attractive because of the ‘ends and means’ technology, but at the same time senseless and lacking life, spirit, inspiration and taste. The sense of education is to be uncovered/discovered and not merely imposed and then assimilated. However, education needs – paradoxically – a kind of repetition and imitation comparable to the experience full of listening to the sounds and words in the process of uttering something. It is not the same as the reproduction or duplication of content. That is why in education the interpreter’s fine inner ear is needed. It is needed not in order to replace the content with something elusive, but rather to regain – thanks to this sensual elusiveness – a sense of the content and its voice. The importance of the voice is that in listening out for it an encounter with something different from our own particularity is possible.

6

Powtórzenie i krytyczny dyskurs o sztuce performance

63%

Zaluski T.

Sztuka i Dokumentacja

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2013

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nr 9

49-60

EN

In the heroic decades of the sixties and seventies of twentieth century, performance art was defined as a form of anti-repetition art. Later, in the eighties and nineties, there was a move away from this anti-repetition ideology towards an ever-growing interest in documentation, re-performances and re-enactments. A configuration of factors: historical, cultural, artistic, technological, institutional, economical, socio-political and educational played a decisive part in this process. Together with it came a change in the theory and historical narration of performance art: since the late nineties there has been developing what the author of the article terms „the critical discourse on performance art”. Its aim is to re-examine the conditions, the possibility of existence and the functioning of performance in cultural and social spaces. The key is to rethink the relationship between performance art and repetition, most importantly in the form of documentation and re-enactment. The article presents some major themes that appear in the texts of various proponents of this discourse. It analyses, at times also in a critical fashion, the new approaches to performance art offered, indicates their possible applications but also their internal tensions and limitations. It is an attempt to focus on the shape of the arising discourse on performance art and repetition as well as to find among its concepts, the ones that seem to carry the greatest potential for research and critical interpretation.

7

Powtarzalność nudy w opowiadaniu Koniec Jerzego Andrzejewskiego

63%

Wróblewski Ł.

Stan Rzeczy

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2016

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nr 2(11)

187-203

PL

Artykuł jest próbą spojrzenia na pochodzące z 1933 roku opowiadanie Koniec Jerzego Andrzejewskiego w kontekście wieloperspektywicznie ujętej nudy. W omawianym tekście nuda przejawia się przede wszystkim w rutynowych czynnościach, jakie wykonuje bohater. Ponieważ mężczyzna musi robić ciągle to samo, doświadcza takich negatywnych afektów jak złość, bezsilność czy nienawiść. Autor argumentuje, że tym, co napędza nudę, jest powtórzenie. Powtarzające się sytuacje, zdarzenia, uczucia zmuszają bohatera do przemyślenia sytuacji, w jakiej się znajduje. Chociaż Gielbard dostrzega swoją życiowa klęskę, nie potrafi odmienić swojego losu i przekroczyć nudy. Doświadczenie nudy determinują bowiem jego trudne relacje rodzinne, jak również sytuacja ekonomiczna, której nie sposób odmienić.

EN

This article is an analysis of Jerzy Andrzejewski’s short story “The End” (1933) in the context of multiple views of boredom. In Andrzejewski’s text, boredom appears above all in the routine activities the protagonist is forced to perform. Because he must continually do the same thing, he experiences negative affects such as anger, helplessness, and hate. The author argues that boredom is an experience stimulated by repetition. Recurring situations, events, and feelings force the hero to think about the circumstances in which he finds himself. Although Gielbard perceives his life failure, he is unable to change his fate and overcome his boredom. The experience of boredom determines his difficult family relations, as well as his economic conditions, which he is unable to alter.

8

Redundancja jako kamuflaż (na podstawie medialnych wywiadów z politykami)

63%

Kula A.

Forum Lingwistyczne

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2017

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nr 4

41-53

EN

Media interviews with politicians are messages which shape the views of the audience regarding the phenomena in the world and affect the hierarchy of importance in broadcasts. An analysis of interviews with politicians reveals that the communication purposes of the participants are often divergent and the interlocutors themselves consider on another to be opponents. The rejection of the very idea of conversation as a setting for an agreement sets a new goal: victory, an interlocutor’s particular benefit. These communication conditions provide a setting where redundancy works perfectly as camouflage. The broadcaster in the media, who cares about achieving the implicit purpose of communication, may treat redundancy as a mask – consciously hiding behind multiplicity makes the recipient bear the burden of responsibility for misunderstanding the message or treat what is obtained explicitly from the broadcaster as an indicator to look for meanings. In the paper, two main ranges were distinguished: party messages and universal phrases, indirectly defining the basic tasks of redundancy. The former suggest ways politicians reply to the journalists’ questions; the latter serve to provide statements oscillating around the issue – their generality, predictability and non‑ controversiality makes them fit in almost any topic and political option.

9

Duchowe peregrynacje Gombrowicza

63%

Hamze D.

Studia Slavica

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2013

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tom 17

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nr 1

23-32

EN

The avowed “atheist” Witold Gombrowicz is secretly worshipping the greatness of Spirit, covertly searching its traces in the In-Between-The-Forms. In the permanent oscillation between two Forms, the author builds a marvellous and invisible Spiritual tower, whose mimicking hypostases (incarnations) fill even the Interpersonal (“Godless”) Temple. The “sacral” ugliness of Yvonne “unearths” the spiritual embryos of the “sophisticated” royal society and reflecting its outlook, deformed by Spirit triggered scruples, causes her own death, bearing the sadistic seal of her aristocratic environment (Yvonne, Princess of Burgundy). The Spirit peers through and spills its magic into Fryderyk’s Director project, while it has fully infiltrated the love-filled space of Youth and Immaturity (Pornography). Pierced by the shattering Spiritual presence, Henryk cannot accept his own alignment with God and issues his own death sentence (Wedding), while the omnipotent Universe, run by the Spirit, sends the narrator a system of paradigms for proper appropriate decoding (Universe)…

10

Un fait linguistique propre à l’oral : La répétition de mot dans l’interaction verbale

63%

Yilmaz S.

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tom 15

FR

Dans cette recherche, nous nous proposons d’étudier le phénomène de ”répétition de mot” qui se réalise au cours d’un échange discursif en français contemporain. Ce dont il est question ici, ce sont les répétitions de mots grammaticaux que Morel et Danon-Boileau (1998) appellent “mots outils” dans le cadre de l’oral spontané en français. L’objectif principal de notre étude est de pouvoir répondre aux questions suivantes en vue de mettre en lumière le fait discursif concernant la répétition de ces mots fonctionnels dits “mots-outils” : a) Quel est le statut énonciatif (valeur et fonction) du phénomène de répétition dans l’interaction verbale ? b) Dans quelle situation d’énonciation le sujet parlant (le locuteur-énonciateur) recourt-il à la répétition ?

EN

In this research, we propose to analyze the phenomenon of “word repetition” which is realized in the discursive exchange in contemporary spoken French. This will involve the repetitions of grammatical words that Morel and Danon-Boileau (1998) define as “functional words” (fr. mots outils) under the spontaneous oral French. The main objective of this research is to find answers to the following questions, and thus to highlight the salient points of this discursive fact which is repetition of functional words (word tools): a) What is the enunciative status of the phenomenon of repetition in verbal interaction? b) In which situation of enunciation the speaker uses the repetition?

11

Heidegger and the finitude of the work of art

51%

Morrison A.

Studia Philosophiae Christianae

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2013

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tom 49

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nr 4

155-179

EN

Heidegger’s The Origin of the Work of Art reevaluates how artworks are meaningful by offering a phenomenological description of the work of art as an historically situated event. This ontological interpretation of art not only rehabilitates our sense of the materiality and singularity of the artwork but it also enables us to think the conditions of the creation and genuine preservation of artworks. In this paper I develop the concept of ruination and argue that ruination is the essence of the artwork. My interpretation emphasizes Heidegger’s insistence on the finitude of the artwork and reveals that Heidegger’s example of the ruin of the ancient temple is exemplary precisely because the ruination of the artwork is an essential characteristic of its happening rather than something that befalls it from outside.

12

„Smutná píseň je ve vzduchu” : Opakování jako textová strategie zpřítomňování skrytého

51%

Kazalarská Z. , Marešová I.

Česká literatura (Czech Literature)

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2012

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tom 60

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nr 2

147-172

EN

This article is devoted to intratextual, auto-intertextual, and intertextual research on rhetorical figures of literary repetition from the perspective of the 'emotional turn' in contemporary literary studies, based chiefly on the research of Gernot Böhme (b. 1937) and of Hans Ulrich Gumbrecht (b. 1948). A key concept of repetition here is textual strategy, how to evince the latent, concealed, and elusive elements of the text. The staarting point of the text consists not only in the latent phenomenon of atmosphere as a phenomenon of perception, but also, indeed in particular, in the question of the production of the atmospheres of the means of poetic language (the 'textual atmosphere' aspect), the question of the reproduction or quotation of the textual atmosphere (the 'intertextual atmospheres' aspect), and the question of 'intermedia migration' of atmospheres amongst the spheres of music and literature (the 'intermedia atmosphere' aspect). The article seeks to demontrate the operative potential of the proposed concepts first in an analytical part, which considers research on one 'atmospheric' verse from the poem 'Homesick Blues' by Langston Hughes (1902-1967) and its individual repetitions in the lyric verse of Ivan Blatný (1919-1990), Josef Kainar (1917-1971), and Miroslav Holub (1923-1998). The last part of the article focuses on problems of repetition as seen by adherents of structuralism and deconstruction, and proposes to understand repetition more broadly as oscillation not only between the poles of iterativity and iterability, but also between sense (Sinn) and presence (Präsenz).

13

Creator or author. Norwid’s concept of beauty, art and artist or the arts creating process

26%

Węcławska-Lipowicz W.

Rocznik Teologii Katolickiej

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2017

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tom 16

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nr 3

EN

The Christian concept of beauty, art, an artist formulated by C.K. Norwid and presented in his Promethidion, clearly refers to the experience of fine arts. The reference to the arts-creating process makes and blends together Norwid’s concept. In order to formulate the definition of beauty, Norwid uses three terms: shape, profile and form. In fine arts these terms have specific meanings, they relate to one another, defining particular stages of a process of creation. Understanding the form as a matrix seems to be significant in Norwid’s concept. It allows seeing the man’s work as an image of God’s act of creation. Humans, created in the image and likeness of God, are capable of creating. We were invited to create beauty and good and thanks to them we discover God as the source of transcendent values and we get close to Him.

PL

Chrześcijańska koncepcja piękna, sztuki, artysty sformułowana przez Cypriana Kamila Norwida i przedstawiona na kartach Promethidionu w wyraźny sposób odwołuje się do doświadczenia sztuk pięknych. Odniesienie do plastycznego procesu twórczego w dużej mierze norwidowską koncepcję buduje i scala. Dla sformułowania definicji piękna Norwid używa trzech określeń: kształt, profil i forma. W sztukach pięknych wspomniane hasła mają swoje specyficzne znaczenia, pozostają we wzajemnych relacjach definiując poszczególne etapy procesu twórczego. W koncepcji Norwida pojmowanie formy jako matrycy wydaje się szczególnie istotne i pozwala spojrzeć na ludzką twórczość jako odzwierciedlenie Boskiego aktu stwórczego. Człowiek stworzony na obraz i podobieństwo Boże stał się zdolny do twórczości. Zaproszony został do czynienia piękna i dobra, dzieki którym odkrywa i przybliża się do Boga, źródła wartości transcendentnych.