Bulletin of the Center for Children's Books 38 (02) 1984

published or submitted for publicatio

Agonistic security: Transcending (de/re)constructive divides in critical security studies

This article is a contribution to transcending the dichotomy between deconstruction and reconstruction in critical security studies. In the first part, I review dominant (Western/liberal) logics of security and the main strands of critical security studies to argue for the need to: overcome the liberal framework of the balance among rights and freedom, with its inherent imbrication with the fantasy of absolute security; and, contra the ultimate conclusions of deconstructive critique, to take the desire for security seriously at the same time. By advocating for embracing the tensions that surface at this intersection, I then move to my reconstructive endeavor. I set out a meta-theory with both analytical and normative nature, agonistic security, inspired by the political theory developed by Mouffe and Laclau. Building on the opposition between antagonism and agonism, I argue that security belongs to the “political”, and that it constitutes a field of struggle for politicization. I then argue for three conceptual shifts, which concretely define agonistic security: i) from an absolute/static to a relational/dynamic understanding of security; ii) from universalism to pluralism at a world scale; and iii) from the dominance of individual rights in Western/liberal thinking toward security as a collective endeavor. In conclusion, I take a step back and discuss the implications of agonistic security for the role of critique in security studies.info:eu-repo/semantics/publishedVersio

Świat onimiczny sagi o wiedźminie Andrzeja Sapkowskiego w przekładzie na język włoski

The onymic world in the Andrzej Sapkowski’s saga of the Witcher, translated into Italian Abstract The paper presents the results of the analysis of the names in Italian translation of AndrzejSapkowski’s fantasy saga series about The Witcher, and the video game inspired by it. The author of the article distinguishes tendencies in the applied translation mechanismsappropriate for the literary and video game space. He discusses the representative rangesof names associated with characters, places, and other objects individually identified in TheWitcher’s story. He also details the motivation for the translation and unsuccessful choicesthat affect some of the translations of The Witcher’s onymy into Italian. Keywords: Andrzej Sapkowski, fantasy, The Witcher, onymy, literary onomastics, translatio

Raine Azure

Raine Azure is an animated graduate thesis film, with a runtime of 6:27. This animation follows the story of March and Autumn, a brother and sister (respectively) tasked to protect a crystal altar that serves as the world\u27s rain dynamo. They set off to save the world from a beast which has stolen the power of the altar and upset the world\u27s balance. Along the way, March discovers that a balance exists between self-reliance and dependence on others. The primary goals during the production of this film were to explore and develop my skills in animation, character design, and music integration. However, due to the production pipeline, story development, rigging structure, and project management became unexpected points of development, until the primary goals returned within the last months of production. The film was produced in Toon Boom Animate Pro 3, via a 2D cutout animation workflow. Music was produced via Cakewalk Sonar X3, utilizing virtual instruments from IK Multimedia, Kong Audio, and Garritan, amongst others. This document covers all aspects of the film creation process from start to finish. Challenges, revelations, failures, and successes are covered here

Fantastyka ćwierć wieku po przełomie

The article discusses the range of important changes, which occurred in the fantastic genre in both Russian and Polish literature since socio-political transformations of 1980s and 1990s. The author notices that there is a strong tendency to blend established genres and mix different styles in the fantastic. In addition, so-called hard science fiction, concerned with social consequences of scientific and technological revolution, which for a long time occupied a privileged position within the genre, gives way to other variations, most noticeably fantasy, alternative history, social science-fiction, post-apocalypse fiction, and horror. Despite similarities in Russian and Polish fantastic literature, some of the Russian-specific genres do not appear in Polish fiction. This includes, for example, imperial and Orthodox fantasy. On the other hand, the genre of liberpunk attracts many Polish writes, even if the name of the sub-genre does not function in Polish literature