1,721,019 research outputs found
Russia and Russians in Diaries of Zygmunt Szczęsny Feliński - attempt of reconstruction of the national stereotype
No full textThe text is devoted to a problem of Russia and Russians in Zygmunt Szczęsny Feliński’s literary creativity. In wide public consciousness this writer and the Warsaw archbishop of theperiod of January revolt functions first of all as the author of two-volume Diaries: the monumental work representing a multi-color social panorama of the XIX century.Appearance of Russia and Russians most expressly oozes exactly in the Diaries of this author mentioned above. The article is concentrated foremost on a chart, which engulfs national onomastics, personal and characterologic qualities of Russians and an image of the Russian Empire as thestates by turns
Snake Spring y ikolai eeev an enre onventions of slasher films
No full textThis article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre
BIUROKRACJA I BIUROKRACI W RADZIECKIEJ KOMEDII FILMOWEJ
Full text linkThe given article is devoted to the issue of bureaucratic distortions in film comedies, which were created in the Soviet Union during 1927-1988, and thus almost throughout the entire functioning of the historical empire. Starting from the silent movie Don Diego and Pelagia by Yakov Protazanov, through the early sound films of the Stalin era (Volga-Volga by Grigori Aleksandrov), followed by Khrushchev Thaw films (including Eldar Ryazanov’s The Carnival Night, A Groom from the other world by Leonid Gaidai) and comedies created in the 1960s and 1980s, the author tries to indicate the mechanisms of bureaucracy in the Soviet Union, its influence on the functioning of the state and citizen, and also presents methods of stigmatizing bureaucratism by Soviet filmmakers
BIUROKRACJA I BIUROKRACI W RADZIECKIEJ KOMEDII FILMOWEJ
No full textThe given article is devoted to the issue of bureaucratic distortions in film comedies, which were created in the Soviet Union during 1927-1988, and thus almost throughout the entire functioning of the historical empire. Starting from the silent movie Don Diego and Pelagia by Yakov Protazanov, through the early sound films of the Stalin era (Volga-Volga by Grigori Aleksandrov), followed by Khrushchev Thaw films (including Eldar Ryazanov’s The Carnival Night, A Groom from the other world by Leonid Gaidai) and comedies created in the 1960s and 1980s, the author tries to indicate the mechanisms of bureaucracy in the Soviet Union, its influence on the functioning of the state and citizen, and also presents methods of stigmatizing bureaucratism by Soviet filmmakers
Biurokracja i biurokraci w radzieckiej komedii filmowej
Full text linkThe given article is devoted to the issue of bureaucratic distortions in film
comedies, which were created in the Soviet Union during 1927-1988, and
thus almost throughout the entire functioning of the historical empire. Starting
from the silent movie Don Diego and Pelagia by Yakov Protazanov,
through the early sound films of the Stalin era (Volga-Volga by Grigori Aleksandrov),
followed by the cinematic works of Khrushchev Thaw (including
Eldar Ryazanov’s The Carnival Night, A Groom from the other world by
Leonid Gaidai) and comedies created in the 1960s and 1980s, the author
tries to indicate the mechanisms of bureaucracy in the Soviet Union, its influence
on the functioning of the state and its citizens, and also presents
methods of stigmatizing bureaucratism used by Soviet filmmaker
Poles and Russians: the stereotypes’ birth sketch
No full textInternational relations have always been a very complex and controversial phenomene affected by historical and political events, wchich influenced the forming of mutual prejudices, antipathy and stereotypes. The concept of national identity and nationalism began to shape relativetly late, in the XVI-XVII cebturies, and their advent was connected with national self-consiousness rise and political conditionnaly. This statement is either applicaple to the Polish-Russian relations, wchich not always were inflated with animosity and hatred. The author of the article considers the process of Russia and the Russians'negative image forming, defines the most significant events, and uniting and separating factors. In this context the two spheres of influence are meant: political-historical and cultural. In the author's opinion, nowadays the negative image of Russia and the Russians is fixed in mind of the Polish. It is very hard to overcome these prejudices, however there is such a possibility
Songwriter and Literary Traditions: on the Work of Adam Sikorski
No full textArtykuł poświęcony został Adamowi Sikorskiemu jako autorowi słów do piosenek lubelskiego zespołu rockowego Budka Suflera. W tekście przedstawiony został krótki rys biograficzny bohatera artykułu, podjęto także próbę uwypuklenia cech konstytutywnych jego stylu, na które składają się: głęboka erudycja autora, jego fascynacja polskim romantyzmem i modernizmem, egzystencjalna sytuacja podmiotu lirycznego czy motyw wizji lat dziecięcych jako krainy spokoju, beztroski i ładu.This article is devoted to Adam Sikorski, the author of the lyrics to the songs by the Lublin rock band Budka Suflera. The text presents a short biographical outline of the subject of the article, and an attempt is also made to highlight the constitutive features of his style, which includes the author’s profound erudition, his fascination with Polish romanticism and modernism, the existential situation of the lyrical subject, and the theme of the vision of childhood as a land of peace, order and free from care
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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