Towards the Post-Human Body. On New Poetry and New Reality

Tekst umieszczony w bazie w ramach projektu NPRH "Polskie studia literacko-kulturowe II. Wydanie monograficznych numerów 'Tekstów Drugich' w wersji angielskojęzycznej i umieszczenie ich w międzynarodowych bazach danych”.Narodowy Program Rozwoju HumanistykiMaciej Pieczyńsk

E-literackie architektury Andrzeja Głowackiego. Archetyptura. Estetyka QR kodu

The author analyzes and interprets the e‑literary project of Andrzej Głowacki titled Archetypture: the QR Code aesthetics. This project, presented as an exhibition at the Europa – Far East Gallery at the Man­ ggha Museum in Krakow at the turn of 2015/2016, is part of a larger e‑literary and artistic cycle, located in the space between e‑literature and artistic installation.Autorka dokonuje analizy i interpretacji e‑literackiego projektu An­ drzeja Głowackiego pt. Archetyptura: Estetyka QR Kodu. Projekt ten, prezentowany w formie wystawy w Galerii Europa – Daleki Wschód przy Muzeum Manggha w Krakowie na przełomie 2015/2016 roku, wpisuje się w większy cykl e‑literacko‑artystyczny, lokujący się w prze­ strzeni pomiędzy e‑literaturą a artystyczną instalacją

Comment on "An early Late Triassic long-necked reptile with a bony pectoral shield and gracile appendages" by Jerzy Dzik and Tomasz Sulej

Bibliogr. s. 28

New perspectives, challenges and changes : the profile of a foreign language teacher in the context of intercultural education

Teacher - student communication during language classes is of specific character due to the function of a foreign or second language as at the same time the subject and the mean of communication. The changes in the modem world prompt changes in the pattern of roles and functions in the teacher-student relation. Teaching aimed at the development of intercultural competences creates new challenges and chances for teachers. This paper attempts to analyze hitherto functions and roles assigned to teachers of Polish for foreigners in the context of intercultural education. It is based on observations of Polish researchers such as G. Zarzycka, E. Zawadzka and M. Torenc, and the European Council documents

From an E-narrative Poem towards an Interactive Work of Art. Media Convergence Illustrated with DOWN by Zenon Fajfer and The Surprising Spiral by Ken Feingold

The text, using the example of a work belonging to the literary style (Spoglądając przez ozonową dziurę [Detect Ozone Hole Nearby] by Zenon Fajfer) and the interactive art (the installation The Surprising Spiral by Ken Feingold) analyses the idiosyncracy of works positioning themselves at the borderland of media and literature, works both literary (textual, narrative and poetic) as well as media ones (changeable, iconic, set in a computer program, double-indirect), paying attention to the meaningfulness of the disciplines borderland (in this case literary and media studies). The author stresses the reasonableness of the question asked by Katarzyna Bazarnik, whether, by accident, the “Darwinian” evolution of species continues. In the author’s opinion, based on her observation of works belonging to the literary style and the discussed work The Surprising Spiral by Ken Feingold, this question should get a positive answer. And possibly, as an effect of initiation, which has already happened, we will soon be entering the museum-gallery space not only in order to look but also to read.Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00

From an E-poem towards an Interactive Work of Art. Convergence of the Media Based on the Examples of Zenon Fajfer’s SPOD and Ken Feingold’s The Surprising Spiral

The text, using the example of a work belonging to the literary style (But Eyeing Like Ozone Whole by Zenon Fajfer) and the interactive art (the installation The Surprising Spiral by Ken Feingold) analyses the idiosyncracy of works positioning themselves at the borderland of media and literature, works both literary (textual, narrative and poetic) as well as media ones (changeable, iconic, set in a computer program, double-indirect), paying attention to the meaningfulness of the disciplines borderland (in this case literary and media studies). The author stresses the reasonableness of the question asked by Katarzyna Bazarnik, whether, by accident, Darwin’s evolution of species continues. In the author’s opinion, based on her observation of works belonging to the literary style and the discussed work The Surprising Spiral by Ken Feingold, this question should get a positive answer. And possibly, as an effect of initiation, which has already happened, we will soon be entering the museum-gallery space not only in order to look but also to read

E‑literackie sploty

Using the example of the One Day Poem Pavilion, an e‑creation by Jiyeon Song, the author shows the changing specificity of literature under the influ­ence of convergence resulting in the emergence of a separate literary trend: e‑literature (e‑poetry). The following issues outline the whole issue dis­cussed in the article: (1) definitions of e‑literature functioning in scientific research, along with selected proposals of genological divisions; (2) the use­ful category of “weaving,” knotting, binding, or shared space, often recalled in scholarly reflection, referring to different semiotic systems; (3) a literary exemplification – the e‑creation of One Day Poem Pavilion by Jiyeon Song; (4) the category of immersive reading offered by some e‑literary proposals (the most technologically advanced, including the discussed One Day Poem Pavilion). In this way, the author attempts to answer the question of what new properties are acquired by literature through new media tools, used by authors and incorporated into the structure of e‑literature.Autorka na przykładzie e‑utworu One Day Poem Pavilion, zrealizowanego przez Jiyeon Song, ukazuje zmianę specyfiki literatury pod wpływem prze­mian konwergencyjnych, skutkującą pojawieniem się osobnego nurtu literackiego – e‑literatury (e‑poezji). W artykule przybliżone zostają następujące kwestie, składające się na zarys całości zagadnienia: 1) funkcjonujące w bada­niach naukowych ujęcia definicyjne e‑literatury, wraz z wybranymi propo­zycjami podziałów genologicznych; 2) użyteczna, często wykorzystywana w refleksji naukowej kategoria „splotu”, węzła, wiązania, miejsca wspól­nego, odsyłającego do różnych systemów semiotycznych; 3) egzemplifikacja literacka – e‑utwór One Day Poem Pavilion, autorstwa Jiyeon Song; 4) kate­goria lektury immersyjnej, jaką stwarzają niektóre (najbardziej zaawanso­wane technologicznie, w tym omawiany One Day Poem Pavilion) propozy­cje e‑literackie. W ten sposób próbuje Autorka odpowiedzieć na pytanie o to, jakie nowe właściwości zyskuje literatura dzięki narzędziom nowomedial­nym, wykorzystywanym przez twórców i włączanym w strukturę e‑utworu

Lektura immersyjna e-literatury

The text takes a closer look at the relationship between the flow strategy used by e-literature authors and the immersive nature of a literary work. The concept of flow refers to processual works that produce the impression of gradual or dynamic flow across the screen and smooth transformations. It is usually used to construct imagery or to build up the momentum of an e-work. Immersion, in turn, is the desire/consent that emerges between the viewer-interactor and the e-artwork to sustain the impression of being (through perceptual and interpretive immersion and involvement) inside another virtual reality. The reader can experience the strongest feeling of immersion in works created with the use of CAVE (virtual cave) environment, although immersion is also possible with less technologically advanced e-literature, as immersive reading levels result from the various combination of elements such as spatialization, colors and graphics exposing processuality or depth effect, sounds that induce the viewer to enter the role of interactor, etc. Researchers look at the immersiveness of e-literature as an artistic expression of opposition to the posture of cool expert detachment prevailing in twentieth-century historical and critical literary discourse at universities. Immersion can thus be considered a kind of “bridge” that guarantees engagement in reading, a chance of regaining lost readerly involvement.Tekst przybliża związki między stosowaną przez twórców e-literatury strategią przepływu (flow) a immersyjnością utworu. Kategoria flow odnosi się do dzieł procesualnych, stwarzających wrażenie stopniowego bądź dynamicznego „płynięcia” po ekranie oraz płynnego przeobrażania się. Celem jej stosowania zwykle jest konstruowanie warstwy ikonicznej lub budowanie dynamiki ścieżki e-utworu. Immersyjność zaś to wytwarzająca się pomiędzy odbiorcą-interaktorem a e-utworem chęć/zgoda na podtrzymywanie w świadomości wrażenia przebywania (percepcyjnego i interpretacyjnego zanurzenia i zaangażowania) we wnętrzu innej, wirtualnej rzeczywistości. Najsilniejsze wrażenie immersji gwarantują utwory realizowane z wykorzystaniem środowiska CAVE (jaskini wirtualnej), choć immersja możliwa jest również w przypadku e-literatury mniej zaawansowanej technologicznie, poziomy lektury immersyjnej wynikają bowiem z łączenia przez twórców w rozmaitych konfiguracjach elementów takich jak: uprzestrzennienie, warstwa kolorystyczno-graficzna eksponująca procesualność lub efekt głębi, warstwa brzmieniowa, nakłanianie odbiorcy do wejścia w rolę interaktora itp. Badacze na immersyjność e-literatury spoglądają jako na artystyczną manifestację sprzeciwu wobec postawy chłodnego eksperckiego dystansu, dominującego w dwudziestowiecznym historyczno- i krytycznoliterackim dyskursie uniwersyteckim. Immersję postrzegać więc można jako rodzaj „mostu” gwarantującego zaangażowanie w lekturę, szansę odzyskania utraconego zaangażowania odbiorczego

Preliminary report on the microvertebrate faunal remains from the late triassic locality at Krasiejów, SW Poland

Fossil vertebrate remains from the Keuper unit in the vicinity of the village of Krasiejów have been analyzed for almost two decades. However, the main goal of these works was focused mainly on large vertebrates. Here the authors present the first description of microvertebrate fossils from that site. The collection of around 5,000 specimens is mainly comprised of teeth and scales. The most numerous remains belong to osteichthyans: dipnoans (Ptychoceratodus and cf. Arganodus), palaeoniscids, semionotids, redfieldiids and chondrichthyans, such as Lonchidion sp., which is the first indisputable record of that genus in the Upper Triassic of Poland and the first shark at the Krasiejów locality. Tetrapod fossils consist of temnospondyl amphibians, rhynchocephalian lepidosauromorphs and archosauromorphs. Among them, temnospondyl amphibian remains are the most numerous and are represented mostly by Metoposaurus. However, on the basis of diversity in tooth morphotypes, the occurrence of other taxa cannot be excluded. Rhynchocephalians are composed of 7 fragmentary jaw morphotypes with dentition, which could indicate high taxonomic diversity (cf. Planocephalosaurus, cf. Diphydontosaurus and cf. Clevosaurus). The most varied fossil group was assigned to the archosauromorphs. The authors can distinguish at least 19 teeth morphotypes, which show similarities to the dentition of: protorosaurians (cf. Tanystropheidae), pseudosuchians (cf. Protecovasaurus, cf. Revueltosaurus), early crocodylomorphs and basal sauropodomorph dinosaurs. The first occurrence of a theropod dinosaur and cynodonts at the Krasiejów locality is also recorded. However, their remains are very rare. These new records show a high taxonomic diversity at the Krasiejów locality that contributes to our deeper understanding of Late Triassic ecosystem of Poland.publishersversionpublishe

Wskrzeszenie Smoka Wawelskiego : głos w sprawie ewolucji memetycznej i obrony nietykalności nazw własnych

The Wawel Dragon is one of the cultural symbols not only of Kraków but of the entire Poland. It has been brought up in literature as a fact, both historical and natural, for the first time by Wincenty Kadłubek (Historia Polonica, 12th century). In 19th century scientific investigations pushed it into the world of legends. Later on it became an inspiration in various fields of art, but in 2010 it surprisingly came back into the field of science as a new species of dinosaurs, Smok wawelski. On the one hand, this use of a pre-existing proper name to define a species of a fossil animal violates rules generally accepted in science, on the other, it is a very interesting phenomenon from the perspective of memetic evolution. This paper explains pathways of replication, durability and driving force of the Wawel Dragon meme and its return from a legendary to scientific existence. The authors present a thesis that thanks to semantic confusion (which is enough to blur the line between reality and fiction), this meme enabled itself a worldwide expansion, both in geographical and social terms