Wyniki wyszukiwania - Biblioteka Nauki

1

Talking Animalish in Science-Fiction Creations. Some Thoughts on Literary Zoomorphism

100%

Kordos P.

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nr 1

219-226

EN

I would like to point out an interesting technique in picturing the aliens in SF books and TV series. In order to differentiate the humans and the extraterrestrials, writers give the latter animal traits: they “talk animalish,” borrowing from the animal world elements that would serve as a way of describing what is not human. The first part of the below text presents some of the most popular animal aliens in the recent SF history. The second is concentrated on writings of China Miéville and Stanisław Lem. Miéville’s world, Bas-Lag, abounds in curious animal sentient races. The writer has defined in detail one more race, Ariekei, for the needs of his latest book. Lem, on the other hand, is a great and humorous theoretician of how they aliens would look like and what the ways we think about them are.

2

Mechanizm powstawania totalitaryzmów na przykładzie filmów science-fiction

100%

Patrzylas A.

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2014

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nr 3(9)

117-125

EN

The cinema is a medium with the largest number of tools needed for complete ideology picturing, including totalitarian ideology. The purpose of this article is to show the process of the formation, stabilization and decay of a totalitarian system. The author attempts to do this by analysis of the SF genre films. Examples are backed by a theory containing the most important intellectual study of totalitarianism, including fascism, Nazism and communism. The various stages, through which the totalitarianism comes, can be compared to the development of the organism. Any political or social system needs favorable conditions for existence. The most outstanding SF films contain often a profound reflection on the condition of societies shown, which enables to understand the structure and character of these most susceptible to yield to totalitarian ideologies. The author uses for its analysis movies from various historical periods of the genre, from strongly differing film cultures.These are examples of french new wave (la Nouvelle Vague), like Fahrenheit 451 (directed by Francois Truffaut), as well as movies form 1990s, like Matrix (directed by L. and A. Wachowsky). This article is a tribute to unappreciated science-fiction cinema.

3

Time and History at the Crossroads of Polish Imaginary Genres. Krzysztof Piskorski’s Czterdzieści i cztery and Andrzej Pilipiuk’s Operacja Dzień Wskrzeszenia

100%

Drab E.

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2017

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tom 18

EN

The present article is an attempt to examine the meaning of time and history in Polish steampunk and science fiction, where time-related concepts constitute the foundations of the genres. As it locates steampunk in a precise period of the 19th century, history determines its definition, regardless of the nationality of the author. What differs in the Polish variation of steampunk is the spatial, not temporal, frame, a modification clearly visible in Krzysztof Piskorski’s Czterdzieści i cztery (2016), where the Polish fight for independence is presented through the prism of the protagonist’s journey across European countries. In science fiction, the determinant factor is time in time travel, as well as the historical perspective of the idea of progress. The presentation of Andrzej Pilipiuk’s Operacja Dzień Wskrzeszenia (2006) proves the importance of time in science fiction and points to the paradoxes which SF authors have to face. All in all, the examination of both novels shows the difference in the approach adopted by two 21st century Polish writers towards different, yet similar, concepts.

4

Magia, parodia, cenzura. "Poniedziałek zaczyna się w sobotę" Arkadija i Borisa Strugackich – przekłady polskie wobec oryginału

67%

Bąbel A.

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tom 24: Nie tylko wiersz, nie tolko roman. Literatura polska i rosyjska w kontekście gatunków literackich

344-368

RU

Статься посвящена одному из самых популярных романов Аркадия и Бориса Стругацких, "Понедельник начинается в субботу" (1965 г.). В ней рассматривается контекст создания произведения и анализируются различия между двумя польскими переводами романа – 19701989 гг. (Ирэны Пиотровской) и 2009 г. (Эвы Скурской). Анализ ключевых замен и опущений позволяет утверждать, что в большинстве случаев они были вызваны цензурой, функционировавшей как в СССР, так и в ПНР (хотя и поразному), а сравнение с текстом оригинала («каноническое» издание собрания сочинений 20002001 гг.) показывает, что польские переводчицы пользовались разными версиями оригинала.

EN

The article is dedicated to one of the most popular novels by Arkady and Boris Strugatsky, "Monday Begins on Saturday" (1965). It discusses the circumstances of the novel’s origins, as well as portraying the differences between two Polish translations – one from 1970/1989 (Irena Piotrowska) and another from 2009 (Ewa Skórska). Analysing the most significant changes and omissions allows one to conclude that those were, by their nature, imposed by the censorship which was at work in the Soviet Union as well as in the People’s Republic of Poland (albeit on slightly different terms). A comparison with the Russian text (the ‘canonical’ edition from the collected works 2000-2001) illustrates that the Polish translators used different editions of the original.