Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "the UN" wg kryterium: Wszystkie pola

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-8 z 8
    Tytuł:
    Écrire la lacune, le blanc et le reste. Les enjeux littéraires du paratexte documentaire dans Un monde sans rivage d’Hélène Gaudy
    Write the Gap, the Blank and the Rest: The Literary Stakes of the Documentary Paratext in Hélène Gaudy’s Un monde sans rivage
    Autorzy:
    Rachwalska von Rejchwald, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/28408346.pdf
    Data publikacji:
    2023-12-16
    Wydawca:
    Komisja Nauk Filologicznych Oddziału Polskiej Akademii Nauk we Wrocławiu
    Tematy:
    Andrée expedition
    Gaudy
    fragmentation
    Un monde sans rivage
    gap
    expédition d’Andrée
    lacune
    Opis:
    The aim of the article is to examine the relationship between the literary layer and the documentary paratext in Hélène Gaudy’s novel Un monde sans rivage (2019), which describes the catastrophic expedition to the North Pole of three Swedish travelers in 1897. Authentic documents present the flow of events, the growing struggle between the waning power of travelers and nature, the entropy of resilience and motivation, which is visible in the laconic and incompleteness of the quoted materials (interrupted or illegible sentences), destroyed in the middle of the photo. The manner of presenting these documents reveals the writer’s method of work, which does not hide their progressive degradation, but on the contrary, treats them as a trigger for the imagination, because her story seems to draw narrative momentum and strength from this lack and incompleteness. Gaudy’s way of working with a documentary allows us to understand why the author needs this formal heterogeneity, why she has not decided on a documentary account or fictional novel. The skillful intertwining of these two formats generates a synergistic dynamic of forces that makes literature better embody life, and the documentary comes to life in contact with the literary imaginary.
    Źródło:
    Academic Journal of Modern Philology; 2023, 20; 289-298
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gulag Argot as a Site of Memory in Julija Voznesenskaja’s The Women’s Decameron
    Autorzy:
    Bagozzi, Valentina
    Powiązania:
    https://bibliotekanauki.pl/articles/2014866.pdf
    Data publikacji:
    2021
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    Julija Voznesenskaja
    Leonid Gorodin
    Gulag argot
    lieu de mémoire
    The Women’s Decameron
    memory
    language of (Un)freedom
    Opis:
    The present contribution focuses on the presence of Gulag argot in Julija Nikolaevna Voznesenskaja’s The Women’s Decameron, more specifically on the short stories told by Zina, the former Lager prisoner by means of linguistic analysis and the recently published Dictionary of Russian Slang Expressions: The Lexicon of Penal Servitude and Camps in Imperial and Soviet Russia by Leonid Gorodin. The following study aims to describe the aforementioned stylistic strategy from The Women’s Decameron as a form of skaz, but also to underline how language works in this context as lieu de mémoire. It is possible to define the Gulag argot as a site of memory, especially when considering the recent study and exhibition by the Gulag Museum in Moscow, named The Language of Unfreedom. This exhibition called attention to the extent in which the lexicon of Gulags has become part of everyday language, its violent heritage ignored, and this original violence underplayed. The work of the Gulag Museum in Moscow underlines the important role of language in preserving history. The memory of Gulag camps is also a recurring theme in Julija Voznesenskaja’s literary and journalistic work; therefore, the usage of Gulag argot cannot be interpreted only as a literary motif, but also as a way to preserve the tragic memory of concentration camps.
    Źródło:
    Academic Journal of Modern Philology; 2021, 12; 7-15
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Les propositions infinitives régies par un verbe de perception dans les dictionnaires français-polonais
    The Infinitive Clauses Governed by a Verb of Perception in the French-Polish Dictionaries
    Autorzy:
    Ucherek, Witold
    Powiązania:
    https://bibliotekanauki.pl/articles/2020927.pdf
    Data publikacji:
    2020
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    infinitive subordinate clause
    verbs of perception
    French-Polish dictionary
    translation
    equivalent
    Opis:
    In French, there exists a kind of infinitive subordinate clause (ICP) introduced by a perception verb like voir, regarder, entendre, écouter and sentir. These structures, composed of a noun phrase and an infinitive verb, do not exist in Polish. This anisomorphism implies difficulties of translation and bilingual dictionaries are one of the potential sources of knowledge about the ways of translating the ICP structures into Polish. We analysed the articles of the five French perception verbs from several contemporary French-Polish dictionaries in order to verify how their authors deal with the lexicographic treatment of the ICP. The general conclusion is that the investigated structure is usually not given in all five perception verb entries of the same dictionary, and the choice of these entries seems to be random. What is more, in most of them, we only found set expressions containing the ICP clause and not free phrases. Frequently, the latter simply appear among examples of the use of the verb headword. Concerning the Polish equivalents, their choice is random too and it happens that the most frequent of them, the jak P (“as P”) structure, is not given. Thus, the microstructure of the analysed entries needs to be improved.
    Źródło:
    Academic Journal of Modern Philology; 2020, 9; 197-206
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Le rôle des noms propres dans les détournements : Le cas des bandeaux dans un journal télévisé satiriqu
    The Role of Proper Names in Detournements: The Case of Lower-Thirds in a Satirical News Broadcast
    Autorzy:
    Davis, Laura
    Powiązania:
    https://bibliotekanauki.pl/articles/2020908.pdf
    Data publikacji:
    2020
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    proper name
    detournement
    dialogism
    satirical news broadcast
    Opis:
    The figure of detournement can be defined as a dialogic phenomenon resulting from the embedding of two utterances into a single utterance. This study is focused on a specific use of this figure: the case of the lower-third in the satirical news broadcast genre. Using a corpus of 56 occurrences from the French TV show, Les Guignols de l’Info, we investigate the role of proper names in the construction of the implicit dialogic meaning inherent to detournements. Our hypothesis is that the spatially hierarchical structure of the two segments which form the lower-third, i.e. a spatially higher segment containing a proper name and a spatially lower one containing an utterance, corresponds to an enunciative hierarchy, in which the interpretation of the second segment relies on the first. We explore two functions that arise from this distinct structure: the nomination of the habitual user(s) of the proper name(s) and the attribution of direct reported speech to the said individual(s). Our aim is to show how these two functions are the result of a dialogic interaction between multiple discourses, activated by the different elements of which the lower-thirds are composed.
    Źródło:
    Academic Journal of Modern Philology; 2020, 9; 79-90
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fellini-Roma : sur les bords du Léthé. Un usage fellinien de la métalepse
    Fellini-Roma: Shadows by the River Lethe. On Fellinian Use of Metalepsis
    Autorzy:
    Tubman-Mary, Alix
    Powiązania:
    https://bibliotekanauki.pl/articles/2015109.pdf
    Data publikacji:
    2021
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    Italian cinema
    Fellini
    Rome
    metalepsis
    intermediality
    melancholy
    Opis:
    In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of the subway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. During the sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the world of the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures who were about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the souls of the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living. The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But rather than a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main one could be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also an ever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewal of Rome which is shown.
    Źródło:
    Academic Journal of Modern Philology; 2021, 11; 187-198
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’expérience de la limite et la manifestation du sens : un voyage mythologique du sens dans Cassandre de Lessia Oukrainka
    The Experience of the Limit and the Manifestation of Meaning: the Mythological Journey of Meaning in Lesya Ukrainka’s Cassandre
    Autorzy:
    Tarasyuk, Yaryna
    Powiązania:
    https://bibliotekanauki.pl/articles/2233992.pdf
    Data publikacji:
    2022-12-29
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    limit
    boundary situation
    meaning formation
    meaning transformation
    myth
    literary interpretation of myth
    Opis:
    The article explores the limit phenomenon in terms of its participation in the process of the formation and transformation of meanings. The functioning of the concept is considered on the basis of the dramatic poem Cassandre by Lesya Ukrainka. Since the work is based on myth and itself imitates the structure of a myth, thus revealing a noticeable feature of European culture at the turn of the 19th–20th centuries regarding the fundamental developments of mytho-critical schools, the border phenomenon is illuminated through the prism of two aspects – content and form. The first aspect focuses on existential meanings; it is about the formation or transformation of meanings at the moment a person reaches his limit or the limit of the world (first of all, a meeting with fate or death). The second aspect concerns the phenomenon of myth and the manifestation-formation of new meanings at the moment of interaction between the myth matrix and its literary interpretation. The focus of the analysis on the threshold phenomena of Cassandre demonstrates the playwright’s skill in working with the ancient myth. Lesya Ukrainka preserves the outline of the myth and the literary image of the Trojan prophetess, but also inscribes new meanings that are relevant to her time, thus universalizing them, and revives myth itself as a universal form of preserving and transporting meanings
    Źródło:
    Academic Journal of Modern Philology; 2022, Special Issue, 17; 185-192
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’entrée à Jérusalem : un exercice de style (de la liturgie au jeu)
    The Entry to Jerusalem: an Exercise of Style (from Liturgy to Play)
    Autorzy:
    Mélou-Le Ferrand, Catherine
    Powiązania:
    https://bibliotekanauki.pl/articles/2015099.pdf
    Data publikacji:
    2021
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    Medieval literature
    Christ’s Passion
    Didot manuscript
    theatre in Langue d’Oc
    entry to Jerusalem
    staging
    Opis:
    The first representations of the Passion of Christ in vernacular language mark an upheaval in liturgical codes. The entry to Jerusalem symbolises this change, as it is one of the most important episodes in the liturgy. It is a popular as well as a royal scene, and a scene of jubilation. It takes place outside the church where a procession has been organised. Through the text of one of the first Passions represented in the Langue d’Oc, namely the Didot manuscript of the Passion, we can see how the staging of the event takes place naturally, even—or especially—in the absence of precise stage directions. Amplification is a part of the game in which no rules are set; it merges with worship and offers devotees the opportunity to get involved in the story. The existing iconography, developed by artists since the 4th century, establishes the symbolic base on which the theatre can rely—costumes, sets and accessories. The very particular liturgy of this scene, celebrated during the Palm Sunday service, reinforces its theatricality and the acting (outside the church), as well as favouring a reversible character of the show. Hence, the spectator becomes an actor and the actor contemplates Christ. The stage directions, along with the absence of precise instructions, outline the codes, constraints and inventions of a nascent Passionist theatre.
    Źródło:
    Academic Journal of Modern Philology; 2021, 11; 127-134
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La préposition de est-elle thématique ? Une analyse contextuelle dans un cadre cognitif
    Is the Preposition de Thematic? A Contextual Analysis in a Cognitive Framework
    Autorzy:
    Kwapisz-Osadnik, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/28408313.pdf
    Data publikacji:
    2023-12-16
    Wydawca:
    Komisja Nauk Filologicznych Oddziału Polskiej Akademii Nauk we Wrocławiu
    Tematy:
    preposition “de”
    thematization
    perception
    imagery
    conceptualization
    thème
    rhème
    préposition
    linguistique cognitive
    imagerie
    Opis:
    The paper examines the contexts of using the preposition “de” regarded as a thematic one. The methodological framework here is cognitive linguistics, which means that we will try to examine a cognitive context which influence the use of the preposition “de”. The starting point of our study is the notion that the preposition “de” is a marker of thematization; however, we would like to demonstrate that thematization is not only a textual or discursive phenomenon; it also depends on the prior knowledge of the speaker. Thus, for example, Merci de m’avoir aidé/ de ton aide and J’ai décidé de partir en vacances, the information introduced by the preposition “de” is thematic in the sense that it is posed and that it is about something which is said. But in, e.g., Il se mêle des affaires d’autrui, Il parle de politique and Je te conseille de te reposer (vs. Je te conseille le repos), the use of the preposition “de” – if it remains thematic – requires a redefinition of the topic including the prior knowledge of the speaker. The preposition de therefore serves as a marker of this knowledge.
    Źródło:
    Academic Journal of Modern Philology; 2023, 20; 133-141
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies