12 research outputs found
Retracted Article: Digital Economy and Digital Logistics as New Area of Study in Higher Education
No full textThis article has been retracted by the iJET editorial team:
The article on this page has been associated with fraudulent publication practices after its publication in iJET. The work could be linked to a criminal paper mill selling authorships and articles for publication in several online journals to paying customers.
The iJET editorial team was initially informed about the paper mill’s fraudulent activities by Dr. Perron (University of Michigan) and his team on 08/03/2021. The investigation results were published on RetractionWatch under https://retractionwatch.com/author/perronetal/ on 12/20/2021. Based on the evidence provided by Dr. Perron and his team, the iJET editorial team considerably questions the paper’s scientific integrity and legitimacy as part of the scientific body. Finally, iJET decided to retract the paper.
Neither iJET, Online-Journals.org, nor IAOE stands in any contact with the paper mill’s fraudulent activities. We condemn such procedures and dissociate ourselves from any person or entity, which is knowingly or unknowingly part of it
The Umov effect for single irregularly shaped particles with sizes comparable with wavelength
No full textThe Umov effect manifests itself as an inverse correlation between the linear polarization maximum of an object's scattered light P_[max] and its geometric albedo A. This effect is observed for the Moon, Mercury and Mars, and there are data suggesting this effect is valid for asteroids. The Umov effect is due to the contribution of interparticle multiple scattering that increases albedo and decreases polarization. We here study if the Umov effect can be extended to the case of single irregularly shaped particles with sizes comparable with the wavelength. This, in particular, is important for cometary dust polarimetry. We show the Umov effect being valid for weakly absorbing irregular particles (Im(m) ≤ 0.02) almost through the entire range of size parameters x considered. Highly absorbing particles (Im(m) > 0.02) follow the Umov effect only if x exceeds 14. In the case of weakly absorbing particles, the inverse correlation is essentially non-linear, which is caused by the contribution of particles with small x. However, averaging over many different types of irregularly shaped particles could make it significantly more linear. The size averaging does not change qualitatively the diagram log(P_[max])-log(A) for weakly absorbing particles. For single irregular particles whose sizes are comparable with wavelength, there is no reliable correlation between the slope of the polarization curve h near the inversion phase angle and geometric albedo A. Using the extended Umov law, we estimate the geometric albedo of dust particles forming cometary circumnuclear haloes A = 0.1 - 0.2, which is a few times larger than the average geometric albedo over the entire comae. Note that, using the obtained values for A of cometary particles, one can derive their number density in circumnuclear haloes from photometric observations
Scattering of light by roughened Gaussian random particles
No full textWe study the influence of surface roughness on light scattering by Gaussian-random-rough particles. Altogether, we consider four kinds of roughened surfaces: small-scale or large-scale roughening of the particle surface layers that are either thin or thick. We have performed computations for two realistic values of refractive indices corresponding to water ice (m=1.313+0i) and silicates (m=1.6+0.0005i). We vary the circumscribing-sphere size parameter xcs from 2 up to 12 in the case of silicate particles and up to 14 in the case of icy particles. For all sets of parameters, scattering of light by roughened particles is noticeably different from scattering by unroughened Gaussian particles. The parameter most sensitive to roughening is the degree of linear polarization of the scattered light when illuminated by unpolarized incident light. Except for the backscattering regime, roughening of particles increases the degree of polarization. Near backscattering, the dependence is more complicated. In the case of icy particles, roughening typically decreases the amplitude of the negative polarization surge; whereas, in the case of silicate particles, the dependence is non-monotonic: for xcs<10, roughening neutralizes the surge; whereas, for xcs=10 and 12, it makes the surge more pronounced. Particles with large spatial scale roughness produce less negative polarization than those with small-scale roughness. Particles with thin roughened surface layers generally produce larger negative polarization surges than those with thick layers. The intensity of scattered light is sensitive to roughening mostly near the backscattering although, for silicate particles with thick layers of roughened surface, we detect its influence also near forward scattering. In the case of icy particles, for xcs=12 and 14, thick-layer roughness amplifies the intensity of backscattering; whereas, for other cases, roughening results in decreased backscattering. Particles with thick roughened layers produce typically more gentle angular profiles of intensity near backscattering than the unroughened particles or particles with thin roughened layers
Optimization of the Subject Matter of Profile Training Disciplines for Bachelors’ Vocational Education on the Basis of Occupational Standards
No full textMetatheatricality in Eugene Vodolazkin’s drama The Parodist
No full textAs the author of the article claims, the metatheatricality in Eugene Vodolazkin’s drama The Parodist is constituted by the multiplication of levels of presented reality and its specific modelling, exposing the “derivativness” and “fictionality”.The multi-layered reality is generated by various, usually perfidious, realizations of the concept of “theatre in theatre” (e.g. thanks to outright and allusive intertextuality, implicitly inscribed in the text of the drama); appearance of specific structural and compositional elements and the simultaneity resembling a film technique of parallel editing; breaking down the stage illusion and maximising the theatrum mundi concept; a play generated within a dramatic plot by the heroes themselves; and metaparody of artistic issues in the dramatic [email protected] w Białymstoku, Wydział Filologiczny, Kolegium LiteraturoznawstwaBaudrillard J., 2005, Symulakry i symulacja, przeł. S. Królak, Warszawa.Burzyńska A. R., 2005, Mechanika cudu. Strategie metateatralne w polskiej dramaturgii awangardowej, Kraków.Dickman I., 2019, The Little Crystalline Seed: The Ontological Significance of Mise en Abyme in Post-Heideggerian Thought, Albany.Grabowski A., 2017, Prawdziwy Dramat Teatru. O metateatrze i metadramacie Bogusława Schaeffera, Kraków.Hutcheon L., 2007, Teoria parodii. Lekcja sztuki XX wieku, przekład Agnieszka Wojtanowska i Witold Wojtowicz, wstęp Witold Wojtowicz, Wrocław.Karkiewicz M. A., 2015, Metalepsa jako strategia narracyjna w dziełach literackich i filmowych (analiza zjawiska na wybranych przykładach), „Załącznik Kulturoznawczy”, nr 2, s. 384–475.Kott J., 1997, Szekspir współczesny, Kraków.Kowzan T., 1971, Teatr w teatrze, czyli o dialektyce iluzji scenicznej, „Dialog”, nr 4, s. 107–118.Nycz R., 1993, Tekstowy świat. Poststrukturalizm a wiedza o literaturze, Warszawa.Pavis P., 1998, Słownik terminów teatralnych, przeł., oprac. i uzup. opatrz. S. Świontek, Wrocław.Pietrzak P., 2004, Opowiadanie w opowiadaniu. Mise en abyme i narratologia, [w:] Opowiadanie w perspektywie badań porównawczych, red. Z. Mitosek, Kraków, s. 187–196.Ruta-Rutkowska K., 2000, Metateatralne gry w dramacie współczesnym na przykładzie twórczości Mariana Pankowskiego, „Pamiętnik Literacki”, z. 4, s. 125–153.Ruta-Rutkowska K., 2010, Metateatralność, metadramatyczność, metatekstowość w dramacie, „Pamiętnik Literacki”, z. 2, s. 113–138.Ruta-Rutkowska K., 2012, Polska tradycja metadramatu. Wybrane zagadnienia, Warszawa.Skwarczyńska S., 1953, Zagadnienie dramatu, w: Studia i szkice literackie, Warszawa.Świontek S., 1990, Dialog – dramat – metateatr (Z problemów teorii tekstu dramatycznego), Łódź.Słownik literatury polskiej XX wieku, 1995, red. nauk. J. Sławiński, Wrocław–Warszawa–Kraków.Zbierski H., 1988, William Shakespeare, Warszawa.Abaševa M., 2019, Čto značit byt’ znakovym pisatelem: Evgenij Vodolazkin v kontekste russkoj prozy, [w:] Znakovye imena sovremennoj russkoj literatury Evgenij Vodolazkin, pod red. A. Skotnickoj i Â. Svežego, Krakov, s. 37–48. [Абашева М., 2019, Что значит быть знаковым писателем: Евгений Водолазкин в контексте русской прозы, [w:] Знаковые имена современной русской литературы Евгений Водолазкин, под ред. А. Скотницкой и Я. Свежего, Краков, s. 37–48.]Bol’šoj tolkovyj slovar’ russkogo âzyka, 1998, gl. red. S.A. Kuznecov, Sankt-Petersburg [Большой толковый словарь русского языка, гл. ред. С.А. Кузнецов, Санкт-Петерсбург.]Ivanova N., 2019, Evgenij Vodolazkin: filolog? istorik? pisatel’, [w:] Znakovye imena sovremennoj russkoj literatury. Evgenij Vodolazkin, pod red. A. Skotnickoj i Â. Svežego, Krakov, s. 23–35. [Иванова Н., 2019, Евгений Водолазкин: филолог? историк? писатель, [w:] Знаковые имена современной русской литературы. Евгений Водолазкин, под ред. А. Скотницкой и Я. Свежего, Краков, s. 23–35.]Semenova N., 2012, „Čelovek s ruž’em” N. F. Pogodina: èkranizaciâ i inscenirovka, „Mir russkogo slova” nr 3, s. 83–90. [Н. Семенова, „Человек с ружьем” Н. Ф. Погодина: экранизация и инсценировка, „Мир русского слова” № 3, s. 83–90.]Vodolazkin E., 2014, Parodist, [w:] E. Vodolazkin, 2014, Para p’es, Irkutsk. [Водолазкин Е., 2014, Пародист, [w:] Е. Водолазкин, Пара пьес, Иркутск].2152
Electronic learning resources and online education technology: issues of effectiveness evaluation
No full textThe relevance of the problem under investigation is due to the widespread use of electronic learning resources and online education technologies in Russian universities and the need to improve their quality for increasing the students learning efficiency. The article aims to study the possibilities for improving the efficiency of e-learning resources and online education technologies and their application specific in teaching students. The leading method of this issue research is the analysis of electronic learning resources and online education technologies use at Russian HEIs. Research results: analysis of electronic learning resources and online education technologies use at Russian HEIs was conducted; approaches for evaluating the efficiency of electronic resources and online education technologies use were developed; recommendations on improving the e-learning resources and online education technologies use were formulated, as well as for developing methodological and pedagogical support for their use in the educational process. The article materials can be useful for: higher-education teaching personnel who one way or another uses e-learning resources and online education technologies in teaching activities; HEIs' leaders; materials developers and employees of universities that are involved in the practical introduction of e-learning resources and online education technologies into the educational process; students and post-graduate students. Learning Efficiency; E-</jats:p
PECULIAR FEATURES OF TEACHING HISTORY TO ECONOMIST STUDENTS IN RUSSIAN UNIVERSITIES
No full textThe purpose of the article: The article is aimed at studying of key issues of the set of methods and methodology of teaching history to students of the direction "Economics"; identifying of key aspects of the history course, competent understanding whereof is important for development of professional competencies of future economists, is of special attention.Materials and methods: The leading approach to the study of this problem is the analysis of key problem issues of the history course, a competent understanding of which is important for the formation of professional competencies of economists.Results of the research: The article shows that in the history of economics there are a lot of controversial, controversial issues on which quite superficial, subjective judgments and conclusions can occur in the journalistic, and sometimes academic literature. A number of similar questions are considered, the features of their study with students are revealed. The work identifies key aspects of the course of history, a competent understanding of which is important for the formation of professional competencies of future economists. The recommendations of the methodological and methodological plan for their study are proposed to increase the effectiveness of training future economists.
Applications: This research can be used for the universities, teachers, and students.
Novelty/Originality: In this research, the model of peculiar features of teaching history to economist students in Russian universities is presented in a comprehensive and complete manner
Aesopian Language in Russian Literature /Modern Period/. (Russian Text).
No full textFrom its very beginning Russian literature developed under thewatchful eye of ideological censorship. The interrelation between literature and government censorship has been the subject of various investigations. Some studies have explored the history of censorship in Russia as a state institution; others discuss the strategies explored by literary magazines and individual writers to circumvent censorial barriers. Interpretation and virtual decoding of literary works remain the general preoccupationof Russian literary scholars, for this literature abounds with circumlocutions, allusions, allegories, irony and even systems of codes.All the abovelisted devices taken together are usually termed as "Aesopian Language" (a term presumably coined by M. E. Saltykov-Scedrin in(' )1860's). An apparently related topic, which is investigated to a much lesser degree is the aesthetic aspect of the interrelations within the triangle Author-Censor-Reader. In this work the author attempts to describe Aesopian language as a special aesthetic system. Chapter I describes the history of this problem in Russian literary scholarship. Chapter II provides the semantic and structural analyses of typical Aesopian texts and discusses Aesopian writing, censorship and readers' receptiveness to hidden messages in the light of information theory. These analyses reveal the uniform underlying structure of any Aesopian text. Two basic elements of this structure are "screens," which are designed to conceal the real message from the censorship, and "markers," which signal initiated readers about the presence of a hidden message in the text. Russian literature at any given period of its existence has developed sophisticated systems of screens and markers, or Aesopian metastyles (the term "metastyle" is used because Aesopian language operates upon stylistic elements of literary works and is, therefore, another structure imposed upon the stylistic structure of a text). Chapter III examines the typology of Aesopian devices exploited by modern Russian literature, reviews the favorite Aesopian genres of Russian writers, and , on the basis of numerous examples, describes the poetics of Aesopian language. Chapters IV, V and VI demonstrate how Aesopian language affectsthe creativity of individual writers and the overall literary process. Theyare dedicated, respectively, to the works of Evgenij Svarc, Evgenij(' )Evtusenko and Soviet writers of children's literature. These chaptersdiscuss the strategies of Aesopian writers. In particular, they examinethe importance of ambiguity and redundancy for creating effective Aesopian writing. Chapter VII (Conclusion) deals with the psychological aspect of communication between an Aesopian writer and his reader. It suggests that in art the content of Aesopian message is irrelevant, that the purpose of Aesopian writing and "Aesopian reading" is to perform a sort of ritual that celebrates the deception of authority.PhDSlavic literatureUniversity of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/158303/1/8116290.pd
К вопросу концептуализации бинарных оппозиций и «противоречий» в семиотике литературы Ю. М. Лотмана
No full textOn the Conceptualisation of Binary Oppositions and „Contradictions”in Jurij Lotman’s Literary Semiotics. In this article, the author continues toinvestigate the specificity of Jurij Lotman’s conceptualisation of binary oppositionsin his semiotics of culture. Binarities are approached, first, through thedifferentiation of binary and ternary models „in the dynamics of Russian culture”,with an orientation to literature (the research object) and within the characterisationof the nature of the scientific description of culture (the metatext).The analysis is based on the reading of Lotman–Uspensky’s joint article (1977), Lotman’s О russkoj literature klassicheskogo perioda (Vvodnye za-mechanija) (1992), and the second half of the article puts, in centre stage, the reading by Lotman of Pushkin’s novel in verse, „Evgenij Onegin”: Speckurs. Vvodnye lekcii v izuchenie teksta (1975). The concept of binary opposites and „contradictions” is given a more complex interpretation in the light of the definitions abstracted from the Special course where Lotman studies the meaning-engendering mechanisms within the overall semiotic system of the literary text, explaining opposites not only in terms of contrast and mutual exclusion, but also relating them to the concepts of inadequacy (neadekvatnost’), mismatch (nesovpadenie), heterogeneity (raznorodnost’) etc. With this, a shift of accent takes place pointing to the function of the differential trait, the change of semiotic conditionality and the emergence of semiotic plurality.
Lotman and Gukovsky. Dialogue in the historical and cultural context. Article 1) provides a chronological overview of Y. M. Lotman\u27s reviews of G. A. Gukovsky\u27s ideas and teaching activities: from the pre-war and post-war time of study to the latest memoir texts; 2) the most significant plots of Lot-man\u27s polemic with Gukovsky\u27s historical and literary concepts are considered in the field of history of Russian literature; 3) fragments of Lotman\u27s un-published lectures from 1960 are introduced into scientific field as they became the basis of his first monograph in the field of structural poetics. These lectures testify to the strong influence of Gukovsky\u27s ideas about the unity of content and form in works of art on Lotman\u27s structuralist theory.В статье продолжается изучение своеобразия концептуа-лизации Ю. М. Лотманом бинарных противопоставленностей в его иссле-дованиях по семиотике культуры. Бинарные оппозиции рассматриваются в контексте различения дуальных и тернарных моделей «в динамике русской культуры» с установкой на литературу (объект изучения) и ин-терпретацию научного описания (метатекст). В первой части статьи толкуются работы Лотмана–Успенского (1977), Лотмана «О русской литературе классического периода (Вводные замечания)» (1992), а во вто-рой части – в центр внимания ставится материал чтения Лотманом романа в стихах Пушкина «„Евгений Онегин”: Спецкурс. Вводные лекции в из-учение текста» (1975). По ходу изложения понятие бинарности оттеняется в свете определения Лотманом в его «Спецкурсе» механизмов смыслопо-рождения в целостной семиотической системе литературного текста, подверженных толкованию не просто в понятийном поле «контрастнос-ти» и «взаимоисключения», но также в поле «неадекватности», «несовпа-дения», «разнородности». Происходит переустановка акцента на концеп-туализацию дифференциального признака, смены условности и возникно-вения плюральности семиотической системы
Enclosed in Language: The Siege by Evgeny Grishkovets
No full textThe author of this article analyzes the play The Siege by Evgeny Grishkovets, a renowned contemporary Russian writer. She places it against a background of the rest of his works, exposing essential features that characterize his entire dramaturgy, such as the presence of metatheatrical devices, recognition of the importance of contact with the audience, and emphasis on stage performance. The analysis also draws attention to such elements of the play as non-homogeneous spatio-temoral framework, hybrid composition of characters, and parallel development of plot threads. Special attention is paid to the “imprisoning” of characters in discourses and the ambivalent nature of cultural symbols. As the author points out, the Siege stands out in the Grishkovets’s oeuvre, both by departing from the dominant monodrama form and by juxtaposing key themes recurring in his works: the human experience of war, the reflection on the nature of time, the collapse of language referential abilities, and the impossibility of
authentic [email protected] Biegluk-Leś, dr, pracuje w Katedrze Rosyjskiej Literatury Współczesnej Instytutu Filologii Wschodniosłowiańskiej Uniwersytetu w Białymstoku. Interesuje się poetyką prozy postmodernistycznej, szczególnie w kontekście gry językowej, teorią narracji oraz współczesnym dramatem rosyjskim. Autorka książki Gry językowe w rosyjskiej prozie postmodernistycznej. Między poetyką a filozofią języka (2016) oraz szeregu artykułów poświęconych rosyjskiemu postmodernizmowi.Wydział Filologiczny, Uniwersytet w BiałymstokuAbaulin Dmitrij (2002), Griszkowiec ante portas, „Dialog”, nr 5–6, s. 220–221.Bolotân Il’mira (2006), Griškovec: avtor, fenomen, sindrom, „Literaturnaâ Rossiâ”, nr 42, https://litrossia.ru/item/1263-oldarchive.Breeva Tat’âna Nikolaevna (2008), Značenie kommunikativnogo provala v p’esah E. Griškovca, w: Sovremennaâ rossijskaâ drama: materialy meždunar. nauč. konf., 27–29 sent. 2007 g., Kazan’, s. 84–91.Brodskij Iosif (1998), Odisej Telemaku, w: I. Brodskij, Sočineniâ Iosifa Brodskogo, t. 3, Sankt-Petersburg: Izdatel’stvo „Puškinskij fond”.Bykov Dmitrij (2002), Vzroslaâ žizn’ molodogo čeloveka, „Novyj mir”, nr 1, https://magazines.gorky.media/novyi mi/2002/1/vzroslaya-zhizn-molodogo-cheloveka.html.Camus Albert (1971), Mit Syzyfa w: A. Camus, Eseje, wybór i przeł. J. Guze, Warszawa: Państwowy Instytut Wydawniczy.Davydova Marina (2005), Konec teatral’noj èpohi, Moskva: Izdatel’stvo OGI.Evrosinin Stas, Aktual’noe odinočestvo Evgeniâ Griškovca, „Novyj mir” 2006, nr 11, https://magazines.gorky.media/novyi mi/2006/11/aktualnoe-odinochestvo-evgeniya-grishkovcza.html.Gončarova-Grabovskaâ Svetlana (2009), Monodrama v tvorčestve E. Griškovca, „Vesnìk BDU”, seria 4, nr 3, s. 26–31.Gracla Jadwiga (2017), Jewgienij Griszkowiec: autor, aktor, twórca, w: Artysta. Biokulturowy interfejs?, red. M. Pieniążek, Kraków: Wydawnictwo Edukacyjne, s. 56–65.Griškovec Evgenij (2011), Satisfakciâ. Scenarij, p’esyi lirika, Moskva: Mahaon, Azbuka-Att.Gromova Margarita Ivanovna (2009), Russkaâ dramaturgiâ konca XX – načalo XXI vv., Moskva: Flinta.Grotowski Jerzy (2012), Teatr a rytuał, w: J. Grotowski, Teksty zebrane, red. A. Adamiecka-Sitek i in., Warszawa: Wydawnictwo Krytyki Politycznej, Instytut im. Jerzego Grotowskiego, Instytut Teatralny im. Zbigniewa Raszewskiego, s. 356–373.Gudkova Violetta (2007), Teatr i mneniâ Evgeniâ Griškovca, w: Pro scenium. Voprosy teatra, izd. vtoroe, ispr., sost. i otv. red. V.A. Maksimova, Moskva, s. 58–75.Lipoveckij Mark, Bojmers Birgit (2008), Travma – performans – identičnost’: intimnyj teatr Evgeniâ Griškovca, w: SSSR: territoriâ lûbvi. Sbornik statej. (Novye materialy i issledovaniâ po istoriirusskoj kul’tury. Vyp. 6), red.-sost. N. Borisova, K. Bogdanov, Û. Murašov, Moskva: Novoe izdatel’stvo, s. 233–267.Lipoveckij Mark, Bojmers Birgit (2012), Performansy nasiliâ: literaturnye i teatral’nye èksperimenty „novoj dramy”, Moskva: Novoe literaturnoe obozrenie.Mazurek Halina (2015), Oblicza monodramu w nowej dramaturgii rosyjskiej, „Studia Słowianoznawcze” , t. 11, s. 223–242.Michalski Yan, Grotowski – mnich poszukiwań teatralnych, http://www.grotowski.net/performer/performer-6/grotowski-mnich-poszukiwan-teatralnych.Mięsowska Lidia (2004), Jewgienij Griszkowiec „nowy sentymentalista” rosyjskiej dramaturgii przełomu XX i XXI wieku, w: Tradycje i nowatorstwo w kulturach i literaturach słowiańskich, red. I. Kowalska-Paszt i in., Szczecin: Uniwersytet Szczeciński,
s. 118–126.Mięsowska Lidia (2016), Między postkomunizmem a postmodernizmem. Najnowszy dramat rosyjski w poszukiwaniu tożsamości kulturowej, „Miscellanea Posttotalitariana Wratislaviensia”, nr 4, s. 59–77.Naumova Ol’ga Sergeevna (2008), Problema teatral’nogo sinkretizma v tvorčestve E. Griškovca, w: Sovremennaâ rossijskaâ drama: materialy meždunar. nauč. konf., 27–29 sent. 2007 g., Kazan’: Škola.Naumova Ol’ga Sergeevna (2018), Obraz čeloveka v hudožestvennoj literature konca XX – načala XXI vv., Samara: Samar. gos. tehn. un-t.NDiaye Iwona Anna (2016), O specyfice kulturowo-językowej monodramu Jewgienija Griszkowca „Jak zjadłem psa” i potencjalnych oraz realnych reperkusjach przekładowych z uwzględnieniem tłumaczenia na język polski, „Acta Neophilologica” t. 18, nr 2, s. 161–177.Piłat Walenty (2001), Jewgienij Griszkowiec – dramaturg, reżyser czy twórca spektaklu. „Przegląd Rusycystyczny”, z. 2, s. 68–74.Piłat Walenty (2005), Teatr „nowego sentymentalizmu” Jewginija Griszkowca i jego polskie interpretacje, „Acta Polono-Ruthenica”, t. 10; s. 199–203.Piłat Walenty (2015), Monodram we współczesnej dramaturgii rosyjskiej, „Acta Neophilologica”, t. 17, nr 1, s. 145–152.Rudnev Pavel (2018), Drama pâmati. Očerki istorii rossijskoj dramaturgii. 1950–2010-oe, Moskva: Novoe literaturnoe obozrenie.Ruta-Rutkowska Krystyna (2000), Metateatralne gry w dramacie współczesnym na przykładzie twórczości Mariana Pankowskiego, „Pamiętnik Literacki”, z. 4., s. 125–153.Syska Katarzyna (2013), Nowa sentymentalność. Przejawy świadomości konwergencyjnej w wybranych monodramach Jewgienija Griszkowca, „Przegląd Rusycystyczny”, nr 2, s. 56–82.Wittgenstein Ludwig (2000), Tractatus logico-philosophicus, przeł. i wstępem opatrzył B. Wolniewicz, Warszawa: Wydawnictwo Naukowe PWN.Maciejewski Łukasz, Śmiesznie i strasznie bywa w teatrze Bagatela, „Gazeta Krakowska” 30 listopada 2011, http://www.dziennikteatralny.pl/artykuly/smiesznie-i-strasznie-bywa-w-teatrze-bagatela.html.1326328
