6,557 research outputs found
“Poland represented existential experiences of resistance, political experiences and intellectual impact”. Marek Zybura in conversation with Wolfgang Templin, the author of the German biography of Józef Piłsudski
No full textWolfgang Templin (born in 1948) was active in the democratic resistance in the former GDR. He co‑founded the party Bündnis 90 in reunified Germany and was writer and author of history books. In the conversation with Marek Zybura (born in 1957) —the Chair of History of Literature and Culture of Germany in the Willy Brandt Centre of German and European Studies at the University of Wroclaw—Templin discusses the origins of his Piłsudski biography (2022), which is being published in the Polish translation by Bellona in Warsaw
Opening sentences in Marek Krajewski’s novels
No full textOpening sentences raise a lot of interest of both linguists and common Polish speakers. It is evident from numerous websites in which Internet users share their observations on the best opening sentences of books (most often novels), as well as theoretical papers and writing guides. The analysis of opening sentences of ten novels by Marek Krajewski (co-author of two of them being Mariusz Czubaj) is to provide an answer to the question to what extent the utterance opening of the texts of the Wroc³aw-based prose writer fulfill the requirements to be met by such type of constructions. It turns out that most crucial are syntactic and semantic features rather than lexical ones. The clash between theoretical assumptions and the M. Krajewski’s writing practice shows that opening sentences of his novels not always fall into classical determinants of incipient formulas. It also illustrates the thesis that a skillful writer does not need to cling to theoretical assumptions to create good opening sentences and novels translated into nearly twenty languages
Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote
No full textHendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04.
This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character.Hendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04.
This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character
The films of Kenneth Anger seen as rituals of defiance
No full textVe své práci se zaměřuji na přiblížení působení a tvorby Kennetha Angera. Kenneth Anger, jeden z nejvýznamnějších experimentálních filmařů všech dob, pojímal film jako magický rituál. Ve svých krátkých, výtvarných a nenarativních filmech, se zaměřuje hlavně na použití barev, emoce a dekadentní symboliku. Absence narace ve filmech Kennetha Angera vede diváka k jinému druhu audiovizuálního zážitku. Anger vede diváka ku svým způsobem primitivnímu vnímání zobrazovaných symbolů. Skrze analýzu způsobů, kterými Anger pracuje ve svém filmu Scorpio Rising s mizanscénou se chci dostat blíže tématům obecnějším. Angerovo rituální a magické pojetí filmu chci zasadit do širších kontextu doby vzniku vrcholných Angerových děl. Kromě analýzy Angerovy práce s filmovým médiem a okultním rituálem samotným se autorovu tvorbu pokusím popsat jako kulturní rituál vzdoru, zasazený do měnícího se paradigmatu 60. let.In this thesis, I will focus on exploring the life and work of filmmaker Kenneth Anger. Kenneth Anger, one of the most important experimental filmmakers, saw the medium of film as means of magical ritual. In his short, highly artistic and non-narrative films, Anger focuses mainly on colors, emotions and decadent symbolism. The absence of narration in Kenneth Anger's films leads the viewer to a different kind of audiovisual experience. Anger leads the viewer to a kind of primitive perception of the displayed symbols. By analyzing the ways in which Anger works with mise-en-scene in his film Scorpio Rising, I want to get closer to more general themes. I want to place the ritual aspect of Anger’s films in a broader context of the cultural zeitgeist. In addition to analyzing Anger's work with the film medium and the occult ritual itself, I will try to see the author's work as a cultural ritual of defiance in midst of the changing paradigm of 1960s Hollywood
The trend of nominal and real exchange rate of koruna
No full textBachelor work, topic: The trend of nominal and real exchange rate of koruna Author: Marek Kolman Supervisor: Doc. Ing. Josef Taušer, Ph.D. Size: 58 page
O Słowackim ponowocześnie [rec. Marek Troszyński: Słowacki. Poza kanonem. Gdańsk: Wydawnictwo Słowo/ Obraz Terytoria, 2014, ss. 411, nlb. 5, il. 65.]
No full textThe title of Marek Troszyński’s book Słowacki. Poza kanonem is excellent from the perspective of marketing, but at the same time, it succeeds in conveying thecontent of the 11 chapters of different length, supplemented with 8 interesting appendices and 65 aptly selected and described illustrations. In a way, it has a character of sylwa; its previous versions (published in refereed magazines and collective monographs) became considerably re‑edited in order to achieve the result in the form of monography. I accept the opening form of this dissertation, which is proposed by the author, as well as his affirmative attitude to the poet’s quasi‑literary achievements, which makes the author “a friendly witness” of Słowacki’s biography and writing. The work is undoubtedly original, own, exceptional and quite unique. I do not expect that in the foreseeable future we will encounter any gifted follower of the method, inquisitiveness, a highly interesting narration, and at the same time a lucky discoverer of so many philological findings, offering such a great number of the conjectures of the poems, not necessarily canonical ones, however, coming after the “canonical”, because critical, edition of Juliusz Kleiner. The title of Marek Troszyński’s book Słowacki. Poza kanonem is excellent from the perspective of marketing, but at the same time, it succeeds in conveying thecontent of the 11 chapters of different length, supplemented with 8 interesting appendices and 65 aptly selected and described illustrations. In a way, it has a character of sylwa; its previous versions (published in refereed magazines and collective monographs) became considerably re‑edited in order to achieve the result in the form of monography. I accept the opening form of this dissertation, which is proposed by the author, as well as his affirmative attitude to the poet’s quasi‑literary achievements, which makes the author “a friendly witness” of Słowacki’s biography and writing. The work is undoubtedly original, own, exceptional and quite unique. I do not expect that in the foreseeable future we will encounter any gifted follower of the method, inquisitiveness, a highly interesting narration, and at the same time a lucky discoverer of so many philological findings, offering such a great number of the conjectures of the poems, not necessarily canonical ones, however, coming after the “canonical”, because critical, edition of Juliusz Kleiner. 
Adam Mickiewicz − The Presumed Reader of Słowacki’s Drama “Ksiądz Marek” [“Father Marek”]
No full textArtykuł koncentruje się na problematyce koncepcji estetycznych i ich twórczych realizacji w latach czterdziestych XIX wieku, po tzw. przełomie towianistycznym, w dramatach autora Balladyny. Z tej perspektywy intrygująca wydaje się figura Mickiewicza − domniemanego odbiorcy późnej twórczości Słowackiego, w tym dramatu pt. Ksiądz Marek, uznawanego za najbardziej towianistyczne dzieło poety. Wychodząc od próby odtworzenia domniemanej lektury tekstu Słowackiego przez Mickiewicza, ponawiam w tekście pytanie o milczenie profesora w Collège de France na temat twórczości Słowackiego − zwłaszcza tej późnej, z lat czterdziestych, która powinna być bliska Mickiewiczowi. Zadaję je w kontekście intrygującego faktu przemilczenia przez autora Dziadów własnej twórczości w prelekcjach paryskich.The article focuses on the issues of aesthetic concepts and their creative realisations in the forties, after the so-called Towian breakthrough, in the dramas of the author of Balladyna [Balladyna]. From this perspective, the figure of Mickiewicz seems to be intriguing − he appears as a supposed recipient of Słowacki’s late work, including the drama “Ksiądz Marek” [“Father Marek”], which is considered to be the work most influenced by Towianist ideas. Starting from attempts to reconstruct the alleged reading of Słowacki’s text by Mickiewicz, I repeat the question about the professor’s silence at the Collège de France about the work of Słowacki − especially that written in the late forties, which should be well-known to Mickiewicz. I ask this question in the context of an intriguing fact of Mickiewicz’s silence about his own work during his Paris lectures
The Mimicry of Juliusz Słowacki's Father Marek
No full textThis paper seeks to consider the issue of mimicry in Juliusz Słowacki's drama Father Marek. The semantics of the theatrical sign has been interpreted on the basis of theoretical, theatrical, and theological studies. The author analyses the mimicry of figures as a visual sign of their space and internal states. She turns our attention to the importance of mimicry in the stage rendering of mystical experiences, the role of metaphor and relations in the creation of that theatrical sign
Global Digital Library as part of e-Research infrastructure and Science 2.0
No full textThe paper presents the concept of a global digital library (GDL) as a place on the Internet, used to realize scholarly communication, public and non-public. The role of GDL in modern, global scientific projects, such as the Cyberinfrastructure (e-Science) and the Science 2.0 were pointed. Essential characteristics of GBC are presented: global/local, hybrid, self-organized and GDL as a boundary object
Some comments on Maurycy Zajęki’s paper brute and institutional presuppositions: an attempt to broaden the concept of Marek Smolak’s concept of a legal text presuppositions
No full textThe paper contains the polemics and refers to certain doubts that Maurycy Zaje˛cki presented in his paper. Responding to them, Marek Smolak formulated the following three remarks. Firstly, he accepts the postulate that presuppositions should be divided into, as proposed by M. Zaje˛cki, brute and institutional presuppositions. Secondly, contrary to M. Zaje˛cki’s view, the author of this paper argues that a certain fact is indeed an institutional fact even when, based on mutual expectations, only two persons recognise it as a fact. Thirdly, the author emphasises the fact that the truthfulness of the existence of institutional facts presupposed in a legal text depends on their social acceptance.Artykuł zawiera polemikę z wątpliwościami, jakie przedstawił w swym artykule Maurycy Zajęcki. Autor sformułował trzy uwagi. Po pierwsze, uznaje zasadność podziału presupozycji zaproponowanego przez M. Zajęckiego na presupozycje surowe oraz presupozycje instytucjonalne. Po drugie, wbrew stanowisku M. Zajęckiego autor argumentuje, że dany fakt jest faktem instytucjonalnym nawet wtedy, gdy na podstawie wzajemnych oczekiwań zostanie uznany tylko przez dwie osoby. Po trzecie, autor podkreśla, że prawdziwość twierdzeń o istnieniu faktów instytucjonalnych presuponowanych w tekście prawnym jest uzależniona od ich społecznej akceptacji
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