I present a new reading of the Maria Kuncewicz novel, entitled The Foreigner, with using postcolonial perspective and consensus as a form of moderated group process aimed at reaching agreement. The work is based on the premise that if the discussion of literary texts is to make sense, we must see in it a chance for a real change of reality. Postcolonial interpretations show the colonized identity as a process of continuous positioning, linked to the processes of trauma conversion, the internalization of prejudice, and the amplification of the pattern of violence. On the other hand, the consensus method shifts the focus from text to interpreting community which can really influence on the surrounding reality.
This article investigates 'nose books' (neusboekjes) and their social functions in the Early Modern Low Countries. Nose books are short literary texts written in the form of joyful ordinances that can be found in bound volumes (Sammelbände). These volumes contain a number of separately printed works, such as almanacs, prognostications and popular texts, which were subsequently bound together. Unlike previous studies, which have largely considered nose books as purely entertaining, this article demonstrates that nose books were initially sold as a form of political satire. As such, they encouraged societal engagement. However, over the course of the eighteenth century, the political undertone of nose books was no longer part of people's reading experiences. These later readers appreciated the parody of the official ordinance instead.
The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin's autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie "Fotografia chłopów polskich do 1944 r." [At an exhibition "The Polish peasants in photographs to 1944"] and Wisława Szymborska's Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.
The author concentrates on the creative and codifying role of the state concerning certain genres of speech. Types of text generated by the state are called here 'state controlled genres'. It is a general term describing the genres which exist and function within the activity of the state – literary genres, journalism, public relations, admin-istration, law, political discourse, parliamentary debates. These genres fall outside descriptions of existing typologies. The following elements of state that influence the various genres of the text are taken into consideration: administration (parliament, state departments, offices; ex-amples: constitution, laws, expose, applications), diplomacy (international contacts: letters of credence, aide-memoires) and media (president, prime minister, ministers, members of parliament, spokesmen; examples: orations, proclamations, briefings, rectifications). State controlled genres are one of the elements of language (on the genetic level) which are essential for the identity of the contemporary homo politicus society.
The article presents the view that in modern Ukrainian literature about Europe, Europeans or Europeanism, has not quite central, but what is true and not peripheral place. Most likely, this topicis logically rooted in literary texts, which resembles more philosophical reflections on the present and future of Ukraine, is the search for the appointment of Ukraine in the modern world and contemporary culture. The author tried to prove that European values of Ukraine in the works of contemporary literature only for certain conditions can shape moral basis and customs of its customers. The author concludes that European values of contemporary Ukrainian writers is also linked with the content of songs, especially those that paint a picture of a man and his country, presenting their various problems, present their fate and life situations or political. ; W artykule przedstawiono pogląd, że we współczesnej ukraińskiej literaturze temat Europy, Europejczyków czy europejskości, posiada całkiem nie centralne co prawda, ale i nie peryferyjne miejsce. Najprawdopodobniej ten temat jest logicznie zakorzeniony w tekstach literackich, co więcej przypomina filozoficzne rozważania nad teraźniejszym i przyszłym losem Ukrainy, jest poszukiwaniem mianowania Ukrainy we współczesnym świecie i współczesnej kulturze. Autor starał się udowodnić, że europejskie wartości Ukrainy w utworach współczesnej literatury tylko pod pewnymi warunkami mogą kształtować podstawy moralne i obyczajowość swoich odbiorców. Autor wysnuł wnioski, że wartości europejskie według współczesnych ukraińskich pisarzy łączą się również z treścią utworów, w szczególności zaś tych, które malują obraz człowieka i jego kraju, prezentują ich najróżniejsze problemy, przedstawiają ich losy i sytuacje życiowe lub polityczne.
The situation during the current pandemic caused by COVID-19, this time of isolation, difficult health situations, and often familial and social trouble, increasingly provokes a reflection on the literature that is offered in the curriculum for pupils at early school age. My focus in this article is texts of audiovisual literature that use the code of new media and address the issue of dysfunction in the home, which can also be exacerbated in these difficult times. I am referring to the loneliness of a child, adults' disregard and misunderstanding of children, and domestic violence, but also the needs of people with mental disabilities and the situations of their relatives, especially the youngest ones. It is worth noting that guidelines formulated by the government for early literature classes were not based on or preceded by conversations with children in order to explore the aforementioned issues. Meanwhile, literature defined as a kind of thought laboratory, among other things, stands in opposition to governmental regulations. Especially in the current situation, students need literary works which speak to them through relevant content and through the media poetics to which contemporary children and adolescents are accustomed. A reflective teacher can use such books to guide the children to make a discovery about the world, find their own place the texts of identity audiovisual literature which, in building a narrative, fits into the categories of audiovisuality proposed by Adam Regiewicz and deals with the forementioned problems. ; Sytuacja związana z aktualnym czasem pandemii spowodowanej wirusem COVID -19, czas odizolowania, trudnych sytuacji zdrowotnych i niejednokrotnie społecznych, rodzinnych wywołuje ze zwiększoną siłą przemyślenia dotyczące literatury proponowanej uczniom w wieku wczesnoszkolnym oraz możliwości jej lektury na pierwszym etapie zorganizowanego kształcenia. Chodzi o teksty literatury audiowizualnej, wykorzystującej kod nowych mediów i koncentrujące się wokół tematyki związanej z problemem, który w czasie pandemii może być zwielokrotniony. Jest nim dysfunkcja domu rodzinnego, w której mieści się samotność i niezrozumienie najbliższych, potrzeby osoby dotkniętej upośledzeniem umysłowym, a nawet domowa przemoc. Jak dotąd, ministerialnie konstruowane wytyczne dla początkowej komunikacji literackiej nie proponują rozmów z dziećmi zgłębiających przywołane wyżej zagadnienia. Tymczasem literatura definiowana między innymi jako swoiste laboratorium myślowe stoi na stanowisku a contario do urzędniczego. Dodatkowo lektura młodszego ucznia wspólnie z dzisiejszą rzeczywistością upomina się o takie utwory, które za pośrednictwem medialnej poetyki, własnej treści i refleksyjnego nauczyciela pozwoli dziecku dokonać rozpoznania w świecie i jednocześnie uporać się z życiowymi trudami. Artykuł akcentuje teksty literatury audiowizualnej, tożsamościowej, korzystającej w budowaniu narracji z rozwiązań technologicznych oraz zajmujące się wspomnianą tematyką.
The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm
The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group's leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept album and the End of an Era concert as the last live performance of Nightwish with Tarja Turunen as the lead singer.
This essay undertakes an attempt to complete the "micrological" perspective of the Silesian school led by Aleksander Nawarecki with political impulses absent from its sources, guided by the intellectual constellations of two thinkers hitherto neglected as micrologists: Michel Foucault and Gilles Deleuze. Voicing opposition to the discipline and scientism of the close reading method, the essay proposes to consider the scholar in the categories of the micronaut, and the process of reading as immersion in the text, following minor tensions and flows of meanings. It simultaneously attempts a philosophical reading of the long poem Nie by Konrad Góra as a study in the methodology of seeing, (un)committed blindness and political multiplicity. ; Szkic podejmuje próbę uzupełnienia "mikrologicznej" perspektywy śląskiej szkoły Aleksandra Nawareckiego o nieobecne w niej źródłowo impulsy polityczne i patronat dwóch pominiętych dotąd "mikrologów": Michela Foucaulta i Gilles'a Deleuze'a. Opowiadając się przeciwko zdyscyplinowaniu i scjentyzmowi metody close reading, proponuje rozpatrywać badacza w kategoriach mikronauty, sam proces lektury zaś jako zanurzanie się w tekście, śledzenie drobnych napięć i przepływów znaczeń. Jest równocześnie próbą filozoficznego przeczytania poematu Nie Konrada Góry jako rozprawy o metodyce widzenia, (nie)zawinionej ślepocie i politycznej wielości.
The purpose of this research is to illustrate the phenomenon of common crime in the eastern areas of Poland from 1921-1925. In the text, the author gives examples of this and its cause and effect on the functioning of the young Polish state. The timeline of the study covers the period from the signing of the Riga Treaty ending the Polish-Soviet War in 1921, to 1925 when the Bolsheviks temporarily gave up their aggressive attempts to spread communism in Europe. The author of the study focused on the most important type of crimes characteristic of the borderland such as robbery and smuggling, using the literature on the subject, source publications, and archival resources, mainly from the Central Military Archives, the Border Guard Archives in Szczecin, and Ukrainian archives in Lviv and Tarnopol. The research aims to show the characteristic types of common crimes, their connection with anti-Polish activities on the part of the USSR and Lithuania, and the intertwining of political crime with criminal offences. In the work, the author uses the critical analysis of sources, literary analysis, and the comparative method.
The article presents plans to prepare an anthology of Lithuanian commemorative poetry written during the Reign of Stanisław August Poniatowski. Libraries of Vilnius are in possession of numerous surviving pieces of commemorative poetry from the second half of the 18th century, especially from the years 1762– –1794. It is hard to define the number of poems of that kind. Their authors are both students and professors of Vilnius universities, representatives of nobility and the clergy, as well as outstanding poets from that period. The prints serve as evidence of the literary culture of Vilnius, and are a kind of a literary chronicle of the Grand Duchy of Lithuania from the second half of the 18th century. The reason for their creation were both the major events of that period, such as an inauguration of bishop Ignacy Jakub Massalski (1762), election of Stanisław August (1764), celebrations of anniversaries of the monarch's election and coronation, his birthdays and name days, the completion of the proceedings of the Main Tribunal of the Grand Duchy of Lithuania – as well as family events and celebrations: baptisms, weddings, name days and funerals of various individuals. There are also compositions devoted to less important events, such as duchess Teofilia Morawska of the Radziwiłłs' return from a journey to Nieśwież. Publishing an anthology of Vilnius commemorative poetry from that period is a chance to create a poetic chronicle of Vilnius and the Grand Duchy of Lithuania in the second half of the 18th century. Preparing an anthology requires long preparations of various sort. Some of the poems are stored as separate prints, but in catalogues they appear under different titles, which sometimes have nothing to do with the author of the topic, some of the texts are published jointly with other prints or catalogued as manuscripts. One of the most important tasks is to define the author of all commemorative poems from that period, since they were not signed, but merely supplemented with the place which they came from. Vilnius commemorative poetry from the second half of 18th century undoubtedly deserves attention. It refers to the major events from political and public life, it is evidence of commitment of those individuals to whom it was addressed, and also constitutes an element of the public life, as the compositions were often presented during various celebrations and referred to the symbols present in the public space.
The article presents plans to prepare an anthology of Lithuanian commemorative poetry written during the Reign of Stanisław August Poniatowski. Libraries of Vilnius are in possession of numerous surviving pieces of commemorative poetry from the second half of the 18th century, especially from the years 1762– –1794. It is hard to define the number of poems of that kind. Their authors are both students and professors of Vilnius universities, representatives of nobility and the clergy, as well as outstanding poets from that period. The prints serve as evidence of the literary culture of Vilnius, and are a kind of a literary chronicle of the Grand Duchy of Lithuania from the second half of the 18th century. The reason for their creation were both the major events of that period, such as an inauguration of bishop Ignacy Jakub Massalski (1762), election of Stanisław August (1764), celebrations of anniversaries of the monarch's election and coronation, his birthdays and name days, the completion of the proceedings of the Main Tribunal of the Grand Duchy of Lithuania – as well as family events and celebrations: baptisms, weddings, name days and funerals of various individuals. There are also compositions devoted to less important events, such as duchess Teofilia Morawska of the Radziwiłłs' return from a journey to Nieśwież. Publishing an anthology of Vilnius commemorative poetry from that period is a chance to create a poetic chronicle of Vilnius and the Grand Duchy of Lithuania in the second half of the 18th century. Preparing an anthology requires long preparations of various sort. Some of the poems are stored as separate prints, but in catalogues they appear under different titles, which sometimes have nothing to do with the author of the topic, some of the texts are published jointly with other prints or catalogued as manuscripts. One of the most important tasks is to define the author of all commemorative poems from that period, since they were not signed, but merely supplemented with the place which they came from. Vilnius commemorative poetry from the second half of 18th century undoubtedly deserves attention. It refers to the major events from political and public life, it is evidence of commitment of those individuals to whom it was addressed, and also constitutes an element of the public life, as the compositions were often presented during various celebrations and referred to the symbols present in the public space.
The article presents plans to prepare an anthology of Lithuanian commemorative poetry written during the Reign of Stanisław August Poniatowski. Libraries of Vilnius are in possession of numerous surviving pieces of commemorative poetry from the second half of the 18th century, especially from the years 1762– –1794. It is hard to define the number of poems of that kind. Their authors are both students and professors of Vilnius universities, representatives of nobility and the clergy, as well as outstanding poets from that period. The prints serve as evidence of the literary culture of Vilnius, and are a kind of a literary chronicle of the Grand Duchy of Lithuania from the second half of the 18th century. The reason for their creation were both the major events of that period, such as an inauguration of bishop Ignacy Jakub Massalski (1762), election of Stanisław August (1764), celebrations of anniversaries of the monarch's election and coronation, his birthdays and name days, the completion of the proceedings of the Main Tribunal of the Grand Duchy of Lithuania – as well as family events and celebrations: baptisms, weddings, name days and funerals of various individuals. There are also compositions devoted to less important events, such as duchess Teofilia Morawska of the Radziwiłłs' return from a journey to Nieśwież. Publishing an anthology of Vilnius commemorative poetry from that period is a chance to create a poetic chronicle of Vilnius and the Grand Duchy of Lithuania in the second half of the 18th century. Preparing an anthology requires long preparations of various sort. Some of the poems are stored as separate prints, but in catalogues they appear under different titles, which sometimes have nothing to do with the author of the topic, some of the texts are published jointly with other prints or catalogued as manuscripts. One of the most important tasks is to define the author of all commemorative poems from that period, since they were not signed, but merely supplemented with the place which they came from. Vilnius commemorative poetry from the second half of 18th century undoubtedly deserves attention. It refers to the major events from political and public life, it is evidence of commitment of those individuals to whom it was addressed, and also constitutes an element of the public life, as the compositions were often presented during various celebrations and referred to the symbols present in the public space.
The article presents plans to prepare an anthology of Lithuanian commemorative poetry written during the Reign of Stanisław August Poniatowski. Libraries of Vilnius are in possession of numerous surviving pieces of commemorative poetry from the second half of the 18th century, especially from the years 1762– –1794. It is hard to define the number of poems of that kind. Their authors are both students and professors of Vilnius universities, representatives of nobility and the clergy, as well as outstanding poets from that period. The prints serve as evidence of the literary culture of Vilnius, and are a kind of a literary chronicle of the Grand Duchy of Lithuania from the second half of the 18th century. The reason for their creation were both the major events of that period, such as an inauguration of bishop Ignacy Jakub Massalski (1762), election of Stanisław August (1764), celebrations of anniversaries of the monarch's election and coronation, his birthdays and name days, the completion of the proceedings of the Main Tribunal of the Grand Duchy of Lithuania – as well as family events and celebrations: baptisms, weddings, name days and funerals of various individuals. There are also compositions devoted to less important events, such as duchess Teofilia Morawska of the Radziwiłłs' return from a journey to Nieśwież. Publishing an anthology of Vilnius commemorative poetry from that period is a chance to create a poetic chronicle of Vilnius and the Grand Duchy of Lithuania in the second half of the 18th century. Preparing an anthology requires long preparations of various sort. Some of the poems are stored as separate prints, but in catalogues they appear under different titles, which sometimes have nothing to do with the author of the topic, some of the texts are published jointly with other prints or catalogued as manuscripts. One of the most important tasks is to define the author of all commemorative poems from that period, since they were not signed, but merely supplemented with the place which they came from. Vilnius commemorative poetry from the second half of 18th century undoubtedly deserves attention. It refers to the major events from political and public life, it is evidence of commitment of those individuals to whom it was addressed, and also constitutes an element of the public life, as the compositions were often presented during various celebrations and referred to the symbols present in the public space.
Dubravka Ugrešić defines herself as a transnational writer. Her political, geographic and cultural dislocation constitute the main themes of her prose works written in the last decade of the twentieth century. In the subsequent decade, Ugrešić's essays took on additional themes relating to the European literary market. The author follows reading fashions and examines the shape and function of publications defined as European or world bestsellers. As a writer and scholar she is drawn to the concept of the transcultural, whose distinguishing characteristic she finds to be the experience of a new and faster mode of transfer of information and goods. The poetics of the work, however, will not be disturbed or changed. Similarly, the hierarchy established by the history and criticism of literature, setting the boundaries of culture and referred to with irony by Ugrešić in her reading of bestsellers, remains intact. This author-reader who seeks to understand her fellow readers often changes the paradigm she uses to describe culture. In her examination of the relations between author, work, and receiver, she delineates an emerging karaoke culture. It cannot, however, be designated as a transnational literature or culture. The literature created by Ugrešić eludes definition in a similar way. Analyses conducted in the text demonstrate that with regard to Ugrešić's work, the term "from outside" would function as a more correct label than the prefix "trans." It should be understood, however, as defining the condition of the writer more than of her work. The label "from outside" appears adequate for defining the place from which she observes and writes, not for the form of her literary output. ; Dubravka Ugrešić określa się jako pisarka transnarodowa. Jej polityczna, geograficzna i kulturowa dyslokacja stała się głównym tematem tekstów prozatorskich, które pisała w ostatnim dziesięcioleciu XX wieku. W kolejnej dekadzie tematem esejów Ugrešić stały się również kwestie związane z rynkiem literatury europejskiej. Autorka śledzi czytelnicze mody, przygląda się też kształtowi i funkcji publikacji określanych jako europejskie lub światowe bestsellery. Jako pisarka i badaczka literatury pochyla nad pojęciem transkultury. Jej wyznacznikiem uczyni doświadczanie nowego, szybszego sposobu przepływu informacji i towarów. Poetyka dzieła nie zostanie jednak naruszona/zmieniona. Podobnie jak historyczno- i krytycznoliteracka hierarchia ustanawiająca ramy kultury i w ironiczny sposób wartościująca kolejne lektury Ugrešić. Autorka-czytelniczka, która chce zrozumieć innych czytelników wielokrotnie zmieni paradygmat opisywanej przez siebie kultury. Rozpatrując relacje między autorem, dziełem i odbiorcą, ustali kulturę karaoke. Tej nie da się jednak oznaczyć jako literatura/kultura transnarodowa. W ten sam sposób nie można też określić literatury tworzonej przez Ugrešić. Rozpoznania poczynione w tekście pokazują, że w przypadku twórczości Ugrešić zamiast prefiksu «trans powinno się używać określenia «spoza». To zaś odnieść należy do kondycji pisarki. Kwalifikacja «spoza» wydaje się adekwatna dla określenia miejsca, z którego obserwuje i pisze autorka, nie dla formy jej literackiego dorobku.
