Мотив одиночества в раннем творчестве Ирен Немировски

The subject of analysis in this paper is the motif of loneliness in the early works of Irène Némirovsky (1903–1942). A pessimistic view on human life, which is typical for Némirovsky, is shown by the author of this article on the example of three works: L’Enfant génial, David Golder and Les Mouches d’automne.  The main character of each of the works constantly feels misunderstood, alienated and eventually dies, convinced of the meaninglessness of his/her existence. These feelings become common for the characters, which at first glance seem completely different - a Jewish boy from the poor quarter of Odessa, a rich financier living in Paris, and an elderly Russian nanny, who emigrates with her masters. The problem of loneliness in Némirovsky’s writing is closely related to the issues of finding one’s own identity and attempts to overcome the past.The subject of analysis in this paper is the motif of loneliness in the early works of Irène Némirovsky (1903–1942). A pessimistic view on human life, which is typical for Némirovsky, is shown by the author of this article on the example of three works: L’Enfant génial, David Golder and Les Mouches d’automne.  The main character of each of the works constantly feels misunderstood, alienated and eventually dies, convinced of the meaninglessness of his/her existence. These feelings become common for the characters, which at first glance seem completely different - a Jewish boy from the poor quarter of Odessa, a rich financier living in Paris, and an elderly Russian nanny, who emigrates with her masters. The problem of loneliness in Némirovsky’s writing is closely related to the issues of finding one’s own identity and attempts to overcome the past

Werbalizacja metafory kognitywnej MYŚLENIE TO PODRÓŻ na przykładzie polskiego tłumaczenia monografii J. D. Apresjana

This paper is devoted to the analysis of the cognitive metaphor verbalization of THINKING IS A JOURNEY on the examples from Lexical semantics by J.D. Apresjan. Basing on the theory of cognitive metaphor by G. Lakoff and M. Johnson, the author of the article attempts to analyze and present the role of the abovementioned metaphor in scientific texts.This paper is devoted to the analysis of the cognitive metaphor verbalization of THINKING IS A JOURNEY on the examples from Lexical semantics by J.D. Apresjan. Basing on the theory of cognitive metaphor by G. Lakoff and M. Johnson, the author of the article attempts to analyze and present the role of the abovementioned metaphor in scientific texts

Powieść в Советском союзе не было аддерола Olgi Breininger z perspektywy posthumanizmu

The analysis focuses on the novel’s protagonist – a young woman who gets involved in an experiment that is aimed at creating the contemporary Übermensch. It is claimed that the novel can be interpreted from the perspective of posthumanism, as it questions the anthropocentric standpoint, which refers mainly to the intellectual dimension of the human being and its economic efficiency.The analysis focuses on the novel’s protagonist – a young woman who gets involved in an experiment that is aimed at creating the contemporary Übermensch. It is claimed that the novel can be interpreted from the perspective of posthumanism, as it questions the anthropocentric standpoint, which refers mainly to the intellectual dimension of the human being and its economic efficiency

Elementy wizualne w kulturze eksperymentu w ujęciu psychologicznym

In the article there is a whole range of the different examples related to the culture of experiment, especially in the context of the interrelations between literature and visual arts, music and photography. The paper touches upon the questions of mediality, intermediality, the relationship between word and picture, as well as sound and movement. The main aim of the article is to demonstrate the phenomenon of interweaving various types of arts worldwide.In the article there is a whole range of the different examples related to the culture of experiment, especially in the context of the interrelations between literature and visual arts, music and photography. The paper touches upon the questions of mediality, intermediality, the relationship between word and picture, as well as sound and movement. The main aim of the article is to demonstrate the phenomenon of interweaving various types of arts worldwide

Językowe sposoby autoprezentacji (na przykładzie) regionalnego ośrodka telewizyjnego w Archangielsku

The article comprises an academic reflection on linguistic methods of self-presentation, used on regional television in Arkhangelsk. The material was collected in 2018 when the centre was celebrating its 55th anniversary. Moreover, earlier research in television broadcast in the north of Russia was taken into account. Editorial self-presentation is conducted in different ways. It embraces articles published on the website of the radio station and anniversary materials broadcasted on-air which later are uploaded on the web as podcasts.  Self-presentation is also created by the image of the radio station reconstituted thanks to agenda, daily news feeds from 2018, examined in the context of sources from 2001-2018. Linguistic analysis is the affirmation of the medium’s form which is listener-oriented. What is more, within last few years the growth of axiological dimension was observed (for instance: religious magazines). Some website as well as on-air statements provide a persuasive step in order to create positive self-presentation. The radio station is seemed to be modern, professional and familiar with every human being, who is interested in social problems.The article comprises an academic reflection on linguistic methods of self-presentation, used on regional television in Arkhangelsk. The material was collected in 2018 when the centre was celebrating its 55th anniversary. Moreover, earlier research in television broadcast in the north of Russia was taken into account. Editorial self-presentation is conducted in different ways. It embraces articles published on the website of the radio station and anniversary materials broadcasted on-air which later are uploaded on the web as podcasts.  Self-presentation is also created by the image of the radio station reconstituted thanks to agenda, daily news feeds from 2018, examined in the context of sources from 2001-2018. Linguistic analysis is the affirmation of the medium’s form which is listener-oriented. What is more, within last few years the growth of axiological dimension was observed (for instance: religious magazines). Some website as well as on-air statements provide a persuasive step in order to create positive self-presentation. The radio station is seemed to be modern, professional and familiar with every human being, who is interested in social problems

Posttotalitarna pamięć jako wyzwanie we współczesnej kulturze wschodnioeuropejskiej

Contemporary Europe stands before the challenge of rethinking its own experience of totalitarian past with its many blank pages, which are highly important for modern societies. In this case we mostly talk about Soviet totalitarianism. Its ideological rhetoric changed the memory of a large part of Eastern and Central Europe. Ukraine, after the Revolution of Dignity and during the current war in Donbas, tries to prove that that totalitarian memory was illusory and cannot be valid now. The strategies for exposing the crimes of totalitarian regimes are suggested by the texts of contemporary culture, especially literature.Contemporary Europe stands before the challenge of rethinking its own experience of totalitarian past with its many blank pages, which are highly important for modern societies. In this case we mostly talk about Soviet totalitarianism. Its ideological rhetoric changed the memory of a large part of Eastern and Central Europe. Ukraine, after the Revolution of Dignity and during the current war in Donbas, tries to prove that that totalitarian memory was illusory and cannot be valid now. The strategies for exposing the crimes of totalitarian regimes are suggested by the texts of contemporary culture, especially literature

Nabokow w masy: Obrona Łużyna na dużym ekranie

The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of The Luzhin Defence creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge.The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of The Luzhin Defence creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge

Język i struktura Грамоты кн. Дмитрия Юрьевича в. кн. Василию Васильевичу. Problem tekstowości

The paper analyses an Old East Slavic document – Грамота кн. Дмитрия Юрьевича в. кн. Василию Васильевичу in the context of its textuality. The language and structure of the text are described in order to prove that it can be analysed as a text in the meaning applied in modern text linguistics. Moreover, the paper shows that a wider investigation is necessary in order to prove its stylistic and genre features.The paper analyses an Old East Slavic document – Грамота кн. Дмитрия Юрьевича в. кн. Василию Васильевичу in the context of its textuality. The language and structure of the text are described in order to prove that it can be analysed as a text in the meaning applied in modern text linguistics. Moreover, the paper shows that a wider investigation is necessary in order to prove its stylistic and genre features

Między Kijowem a Konstantynopolem Relacje Kościoła ukraińskiego z Patriarchatem Ekumenicznym (X–XXI w.)

Relations between the Ukrainian Church and Constantinople were difficult. This goes back as far as 988, when the Christianisation of the Rus created a strong alliance between Kiev and the Byzantine Empire. There were times when Constantinople had no influence over the Kiev Metropolis. During the Mongolian invasion in 1240, the Ukranian region was broken up and Kiev lost its power. The headquarters of the Kiev Metropolis were first moved to Wlodzimierz nad Klazma in 1299 and then to Moscow in1325. In 1458 the Metropolis of Kiev was divided into two; Kiev and Moscow, but Kiev still remained under the jurisdiction of the Patriarchate of Constantinople. Since that time, the orthodox hierarchs of Moscow no longer adhered to the title Bishop of Kiev and the whole of Rus and in 1588 the Patriarchate of Moscow was founded. In 1596 when  the Union of Brest was formed,  the orthodox church of the Polish Lithuanian Commonwealth was not liquidated. Instead it was formally revived in 1620 and in 1632 it was officially recognized by king Wladyslaw Waza. In 1686 the Metropolis of Kiev which until that time was under the Patriarchate of Constantinople was handed over to the jurisdiction of Moscow. It was tsarist diplomats that bribed the Ottoman Sultan of the time to force the Patriarchate to issue a decree giving Moscow jurisdiction over the Metropolis of Kiev. In the beginning of the 19th century, Kiev lost its Metropolitan status and became a regular diocese of the Russian Orthodox Church. Only in the beginning of the 20thcentury, during the time of the Ukrainian revolution were efforts made to create an independent Church of Ukraine. In 1919 the autocephaly was announced, but the Patriarchate of Constantinople did not recognize it. . The structure of this Church was soon to be liquidated and it was restored again after the second world war at the time when Hitler occupied the Ukraine. In 1992, after the dissolution of the Soviet Union, when Ukraine gained its independence, the Metropolitan of Kiev requested that the Orthodox Church of Ukraine becomes autocephalous but his request was rejected by the Patriarchate of Moscow. Until 2018 the Patriarchate of Kiev and the autocephalous Church remained unrecognized and thus considered schismatic. In 2018 the Ecumenical Patriarchate of Constantinople looked  into the matter and on 5thJanuary 2019, the Orthodox Church of Ukraine received it’s tomos of autocephaly from Constantinople. The Patriarchate of Moscow opposed the decision of Constantinople and as a result refused to perform a common Eucharist with the new Church of Ukraine and with the Patriarchate of Constantinople.Relations between the Ukrainian Church and Constantinople were difficult. This goes back as far as 988, when the Christianisation of the Rus created a strong alliance between Kiev and the Byzantine Empire. There were times when Constantinople had no influence over the Kiev Metropolis. During the Mongolian invasion in 1240, the Ukranian region was broken up and Kiev lost its power. The headquarters of the Kiev Metropolis were first moved to Wlodzimierz nad Klazma in 1299 and then to Moscow in1325. In 1458 the Metropolis of Kiev was divided into two; Kiev and Moscow, but Kiev still remained under the jurisdiction of the Patriarchate of Constantinople. Since that time, the orthodox hierarchs of Moscow no longer adhered to the title Bishop of Kiev and the whole of Rus and in 1588 the Patriarchate of Moscow was founded. In 1596 when  the Union of Brest was formed,  the orthodox church of the Polish Lithuanian Commonwealth was not liquidated. Instead it was formally revived in 1620 and in 1632 it was officially recognized by king Wladyslaw Waza. In 1686 the Metropolis of Kiev which until that time was under the Patriarchate of Constantinople was handed over to the jurisdiction of Moscow. It was tsarist diplomats that bribed the Ottoman Sultan of the time to force the Patriarchate to issue a decree giving Moscow jurisdiction over the Metropolis of Kiev. In the beginning of the 19th century, Kiev lost its Metropolitan status and became a regular diocese of the Russian Orthodox Church. Only in the beginning of the 20thcentury, during the time of the Ukrainian revolution were efforts made to create an independent Church of Ukraine. In 1919 the autocephaly was announced, but the Patriarchate of Constantinople did not recognize it. . The structure of this Church was soon to be liquidated and it was restored again after the second world war at the time when Hitler occupied the Ukraine. In 1992, after the dissolution of the Soviet Union, when Ukraine gained its independence, the Metropolitan of Kiev requested that the Orthodox Church of Ukraine becomes autocephalous but his request was rejected by the Patriarchate of Moscow. Until 2018 the Patriarchate of Kiev and the autocephalous Church remained unrecognized and thus considered schismatic. In 2018 the Ecumenical Patriarchate of Constantinople looked  into the matter and on 5thJanuary 2019, the Orthodox Church of Ukraine received it’s tomos of autocephaly from Constantinople. The Patriarchate of Moscow opposed the decision of Constantinople and as a result refused to perform a common Eucharist with the new Church of Ukraine and with the Patriarchate of Constantinople

Postać wszechświatowego człowieka w twórczości reżysera, scenarzysty i muzyka Michaiła Miesteckiego

The article is devoted to the study of the concept and image of the one-man (rus. mirovoj chelovek). Mikhail Mestetsky – a screenwriter, a director, a musician, the founder and frontman of the group Shklovsky. His work is permeated with anarchic and revolutionary motifs of destruction and provocation. However, along with the aesthetics of destruction, there is a tendency towards collective behavior, the essentialization of the collective. The group, the detachment, the team, the union, and the sect are the favorite categories of Mestetsky's poetics. The identification of „all as one” in the category of the one-man (Wardan Hayrapetyan), collective body occurs in the film Rag Union (2015). The main plot of Mestetsky is set against this background – the self-education of personality and the character formation.The article is devoted to the study of the concept and image of the one-man (rus. mirovoj chelovek). Mikhail Mestetsky – a screenwriter, a director, a musician, the founder and frontman of the group Shklovsky. His work is permeated with anarchic and revolutionary motifs of destruction and provocation. However, along with the aesthetics of destruction, there is a tendency towards collective behavior, the essentialization of the collective. The group, the detachment, the team, the union, and the sect are the favorite categories of Mestetsky's poetics. The identification of „all as one” in the category of the one-man (Wardan Hayrapetyan), collective body occurs in the film Rag Union (2015). The main plot of Mestetsky is set against this background – the self-education of personality and the character formation