scholarly journals Krystyna Pisarkowa – ta, która inspiruje

LingVaria ◽  
2021 ◽  
Vol 16 (2(32)) ◽  
pp. 203-213
Author(s):  
Anna Tyrpa
Keyword(s):  
History Of The Book ◽  
Doctoral Thesis ◽  
The Third ◽  
Shared Language ◽  
Bronislaw Malinowski ◽  
History Of ◽  
Polish Language ◽  
The Times ◽  
The One ◽  
Bronisław Malinowski

Krystyna Pisarkowa – The One Who Inspires The article consists of three parts. In the first one: Krystyna Pisarkowa as a Supervisor, the author shares her memories from the times when she wrote the doctoral thesis supervised by Pisarkowa. In the second part: Krystyna Pisarkowa – the Author of an Article, the author discusses how the text by Pisarkowa entitled Semantic Connotation of Nationalities provided inspiration to fourteen authors of twenty-three monographs and one lexicon. Most of those scholars are experts in Polish language and linguists, but the thoughts included in Pisarkowa’s article also influenced two experts in Russian studies: one sociologist and one anthropologist of culture. Those books were published within 40 years (1980–2020). Five of them were published after the death of Krystyna Pisarkowa. This proves the power of her article’s influence. The third part of the article is entitled Supplement. It describes the history of the book by Ogden and Richards: The Meaning of Meaning. A Study of The Influence of Language upon Thought and of The Science of Symbolism with Supplementary Essays by B. Malinowski and F. G. Crookshank, which followed a strange route from London and reached Pisarkowa who used it while writing: Linguistics by Bronisław Malinowski, vol. 1: Bonds of Shared Language (2000).

cepts, or sermoned at large, as they vse, then thus clowdily enwrapped in Allegoricall deuises. But such, me seeme, should be satisfide with the vse of these dayes, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sence. For this cause is Xenophon preferred before Plato, for that the one in the exquisite depth of his iudgement, formed a Commune welth such as it should be, but the other in the person of Cyrus and the Persians fashioned a gouernement such as might best be: So much more profitable and gratious is doctrine by ensample, then by rule. So haue I laboured to doe in the person of Arthure: whome I conceiue after his long education by Timon, to whom he was by Merlin deliuered to be brought vp, so soone as he was borne of the Lady Igrayne, to haue seene in a dream or vision the Faery Queen, with whose excellent beauty rauished, he awaking resolued to seeke her out, and so being by Merlin armed, and by Timon throughly instructed, he went to seeke her forth in Faerye land. In that Faery Queene I meane glory in my generall intention, but in my particular I conceiue the most excellent and glorious person of our soueraine the Queene, and her kingdome in Faery land. And yet in some places els, I doe otherwise shadow her. For considering she beareth two persons, the one of a most royall Queene or Empresse, the other of a most vertuous and beautifull Lady, this latter part in some places I doe expresse in Belphœbe, fashioning her name according to your owne excellent conceipt of Cynthia, (Phœbe and Cynthia being both names of Diana.) So in the person of Prince Arthure I sette forth magnificence in particular, which vertue for that (according to Aristotle and the rest) it is the perfection of all the rest, and conteineth in it them all, therefore in the whole course I mention the deedes of Arthure applyable to that vertue, which I write of in that booke. But of the xii. other vertues, I make xii. other knights the patrones, for the more variety of the history: Of which these three bookes contayn three. The first of the knight of the Redcrosse, in whome I expresse Holynes: The seconde of Sir Guyon, in whome I sette forth Temperaunce: The third of Britomartis a Lady knight, in whome I picture Chastity. But because the beginning of the whole worke seemeth abrupte and as depending vpon other antecedents, it needs that ye know the occasion of these three knights seuerall aduentures. For the Methode of a Poet historical is not such, as of an Historiographer. For an Historiographer discourseth of affayres orderly as they were donne, accounting as well the times as the actions, but a Poet thrusteth into the middest, euen where it most concerneth him, and there recoursing to the thinges forepaste, and diuining of thinges to come,

2014 ◽  
pp. 738-738
Keyword(s):  
The Other ◽  
The Third ◽  
History Of ◽  
To Come ◽  
The Times ◽  
The One

The practice and theory of property in seventeenth-century Bengal

2017 ◽  
Vol 54 (2) ◽  
pp. 147-182 ◽  
Author(s):  
Samuel Wright
Keyword(s):  
Seventeenth Century ◽  
Final Section ◽  
Detailed Examination ◽  
The Third ◽  
Economic Practices ◽  
Shared Language ◽  
History Of ◽  
Analytical Category ◽  
Theoretical Issues

This study reconstructs the connected history of socio-economic and intellectual practices related to property in seventeenth-century Bengal. From the perspective of socio-economic practices, this study is concerned with the legal transfer of immovable property between individuals. From the perspective of intellectual practice, this study is concerned with how property was understood as an analytical category that stood in a particular relation to an individual. Their connected history is examined by analysing socio-economic practices exemplified in a number of documents detailing the sale and donation of land and then situating these practices within the scholarly analysis of property undertaken by authors within the discipline of nyāya—the Sanskrit discipline dealing primarily with ontology and epistemology. In the first section of the essay, I undertake a detailed examination of available land documents in order to highlight particular conceptions of property. In the second section of the essay, I draw out theoretical issues examined in nyāya texts that relate directly to the concepts expressed in the land documents. In the third and final section of the essay, I discuss the shared language and shared concepts between the documents and nyāya texts. This last section also addresses how the nyāya analysis of property facilitates a better understanding of claims in the documents and what nyāya authors may have been doing in writing about property.

Bibliopolis, developing the one-stop shop for the history of the book in the Netherlands

Quaerendo ◽  
2000 ◽  
Vol 30 (3) ◽  
pp. 240-249
Author(s):  
Marieke Van Delft ◽  
Marco De Niet
Keyword(s):  
The Netherlands ◽  
History Of The Book ◽  
History Of ◽  
One Stop ◽  
The One

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

scholarly journals Powstanie kawalerii SS Totenkopf i jej rola w niemieckiej polityce okupacyjnej na ziemiach polskich w latach 1939–1941

2020 ◽  
Vol 17 (4) ◽  
pp. 72-88
Author(s):  
Jarosław Dybek ◽  
Keyword(s):  
Third Reich ◽  
Popular Science ◽  
Science Literature ◽  
German Occupation ◽  
The Third ◽  
General Government ◽  
History Of ◽  
Polish Language ◽  
False Image ◽  
The Third Reich

The topic of the article is one of the German SS regiments stationed in occupied Poland and its role in The German occupation policy. While the history of the SS formation is very well known in both academic and popular science literature, its cavalry has not been elaborated in great detail thus far. Although this topic seems interesting, it has not yet been discussed in any book in the Polish language. Most of the literature related to this topic was published in German and English. The 1st SS Death’s Head Cavalry Regiment operated primarily in the General Government and was under the Higher SS and Police Command. Some of its squadrons also operated in areas annexed to the Reich, i.e. the Warta Voievodship (Reichsgau Wartheland). From this article we will learn about the formation of the SS Death’s Head cavalry and its gradual inclusion in the brutal occupation policy of the Third Reich in Poland. In the case of its formation, we are dealing with tasks such as combating the early partisan units, searching for weapons, participating in the creation of ghettos, or helping to eliminate Polish levels of the intelligentsia. Noteworthy is the participation of this unit in the production of the propaganda film “Kampfgeschwader Lützow”, in which Polish cavalrymen were presented attacking German tanks with sabres. This false image was reproduced after the war in some movies or books, and contributed to the distorted presentation of Polish soldiers in the defensive battles of 1939.

Origins

2018 ◽  
Author(s):  
Peter Mitchell
Keyword(s):  
Short Distance ◽  
Cervical Vertebra ◽  
Genetic Studies ◽  
Human Interactions ◽  
The Third ◽  
Wild Ass ◽  
History Of ◽  
Kill Site ◽  
The One ◽  
The Right

Over 50,000 years ago a Neanderthal hunter approached a wild ass on the plains of northeastern Syria. Taking aim from the right as the animal nervously assessed the threat, he launched his stone-tipped spear into its neck, penetrating the third cervical vertebra and paralyzing it immediately. Butchered at the kill site, this bone and most of the rest of the animal were taken back to the hunter’s camp at Umm el Tlel, a short distance away. Closely modelled on archaeological observations of that vertebra and the Levallois stone point still embedded within it, this incident helps define the framework for this chapter. At the start of the period it covers, human interactions with the donkey’s ancestors were purely a matter of hunting wild prey, but by its end the donkey had been transformed into a domesticated animal. Chapter 2 thus looks at how this process came about, where it did so, and what the evolutionary history of the donkey’s forebears had been until that point. Donkeys and the wild asses that are their closest relatives form part of the equid family to which zebras and horses also belong. Collectively, equids, like rhinoceroses and tapirs, fall within the Perissodactyla, the odd-toed division of hoofed mammals or ungulates. Though this might suggest a close connection with the much larger order known as the Artiodactyla, the even-toed antelopes (including deer, cattle, sheep, and goats), their superficial resemblances may actually reflect evolutionary convergence; some genetic studies hint that perissodactyls are more closely related to carnivores. Like tapirs and rhinoceroses, the earliest equids had three toes, not the one that has characterized them for the past 40 million years. That single toe, the third, now bears all their weight in the form of a single, enlarged hoof with the adjacent toes reduced to mere splints. This switch, and the associated elongation of the third (or central) metapodial linking the toe to the wrist or ankle, is one of the key evolutionary transformations through which equids have passed. A second involves diet since the earliest perissodactyls were all browsers, not grazers like the equids of today.

Trade and faith in Nubian Early Makuria (AD 450–550): macroscopic examination of personal adornments from el-Zuma in Nubia

2017 ◽  
Vol 25 ◽  
pp. 741-760 ◽  
Author(s):  
Joanna Then-Obłuska
Keyword(s):  
Phase Ii ◽  
Marine Mollusk ◽  
The Third ◽  
History Of ◽  
Manufacturing Techniques ◽  
The Times ◽  
Macroscopic Examination ◽  
Mollusk Shell ◽  
Broad Overview ◽  
Ostrich Eggshell

In the long history of the land between the Third and Fourth Cataracts on the Nile, the period corresponding to the times of Early Makuria is particularly well represented. The el-Zuma tumuli cemetery has been dated to the Early Makuria Phase II (AD 450–550). Although the graves were heavily robbed, the remains of personal adornments (beads, pendants, rings, and an earring) give a broad overview of materials (marine mollusk shell, coral, ostrich eggshell, stone, metal, faience, glass) and techniques applied in their production. A comparative synopsis of contemporary Nubian adornments shows parallels for the objects from el-Zuma. Moreover, the provenance of the materials and manufacturing techniques suggests el-Zuma’s involvement in regional and longdistance exchange during this period. Finally, the presence of a Christian symbol and imported beads in the el-Zuma tumuli is meaningful in itself.

THE MEDIEVAL ARCHIVE AND THE HISTORY OF THEATRE: ASSESSING THE WRITTEN AND UNWRITTEN EVIDENCE FOR PREMODERN PERFORMANCE

2011 ◽  
Vol 52 (1) ◽  
pp. 29-58 ◽  
Author(s):  
Carol Symes
Keyword(s):  
Religious Life ◽  
The Body ◽  
Read Aloud ◽  
The Third ◽  
History Of ◽  
The One ◽  
As If

Soon after he was consecrated bishop in 963, Æthelwold of Winchester (909–84) began to promulgate a series of new rules for worship and religious life in the monasteries of England. In one passage that is well known to theatre historians, Æthelwold insisted on the following performance of the Easter morning liturgy.While the third lesson is being read aloud, four of the brothersshould dress themselves.One of them, wearing an alb,should come in as though intent on other businessand gostealthilyto the place of the sepulchre, and therehe should sit quietly….The three remaining brothers …should make their way slowly and haltingly, coming before the place of the sepulchreas if they are seeking something. For these things are done in imitation of the angel seated on the tomb and of the women coming with perfumes to anoint the body of Jesus.When, therefore, the one sitting there sees the three drawing near, who are still wandering aboutas though seeking something, he should begin to singsweetly, in amoderatevoice: “Whom do you seek?”

scholarly journals “Letter of a Sicilian to one of his Friends” in Translation by Antiochus Cantemir (1726): History of the Text and Features of its Language

Slovene ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 223-253
Author(s):  
Dmitry Rudnev ◽  
Heng Fu
Keyword(s):  
French Text ◽  
Everyday Life ◽  
Final Version ◽  
The Third ◽  
Fourth Part ◽  
Building Models ◽  
The Everyday ◽  
History Of ◽  
French Original ◽  
The One

The article presents a many-sided analysis of a pamphlet by Giovanni Marana translated by Antiochus Kantemir into Russian in 1726. In the first part of the article, we describe various editions of Marana’s pamphlet and establish the one that became the source for Kantemir’s translation. This source is found out to be the publication of the pamphlet in one of the “Élite des bons mots” collections. Next, the correspondence between the text of the translation and the French text is analyzed, the deviations and errors in the Kantemir’s text are revealed and their explanation is given. It is concluded that the surviving manuscript of the translation was made from an earlier one and was not the final version of the text. The manuscript of the translation was published in 1868 as a part of the collected works by Antiochus Kantemir and was subjected to a considerable revision. The second part of the article is devoted to comparing the text of the manuscript and the published text, describing spelling and punctuation corrections, as well as mistakes made during the publication of the manuscript. The contradictions in introduced spelling corrections are noted. In the third part of the article, the technique of translation, ways of transferring lexical and syntactic units to Russian are analyzed. Kantemir uses a large number of borrowed words to describe the everyday life in Paris and France, however, mainly Slavic word-building models are used for translating the behavioral sphere vocabulary. The fourth part of the article describes the stylistic key of translation. While making the language of translation closer to the language of the French original, the translator left Russian as a basis, which he slavicised in two ways: first, with a small number of “background slavonicisms”, evenly distributed throughout the text; secondly, with “slavonicisms-inclusions”, creating points of stylistic tension. It is concluded that the degree of slavicisation of the text is not great.

scholarly journals Organology of Dreams and Archi-Cinema (

2016 ◽  
Vol 24 (47) ◽  
Author(s):  
Stiegler Bernard
Keyword(s):  
The Other ◽  
The Unconscious ◽  
The Third ◽  
Other Hand ◽  
The Matrix ◽  
History Of ◽  
Cinematic Time ◽  
The One

Stiegler argued in Cinematic Time and the Question of Malaise (the third volume of Technics and Time) that we must refer to archi-cinema just as Derrida spoke of archi-writing. In this article he proposes that in principle the dream is the primordial form of this archi-cinema. The archi-cinema of consciousness, of which dreams would be the matrix as archi-cinema of the unconscious, is the projection resulting from the play between what Husserl called, on the one hand, primary and secondary retentions, and what Stiegler, on the other hand, calls tertiary retentions, which are the hypomnesic traces (that is, the mnemo-technical traces) of conscious and unconscious life. There is archi-cinema to the extent that for any noetic act – for example, in an act of perception – consciousness projects its object. This projection is a montage, of which tertiary (hypomnesic) retentions form the fabric, as well as constituting both the supports and the cutting room. This indicates that archi-cinema has a history, a history conditioned by the history of tertiary retentions. It also means that there is an organology of dreams.

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