Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.5
E. Roche
Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.
{"title":"Building through the flames: Polish-Jewish architects and their networks, 1937–1945","authors":"E. Roche","doi":"10.14746/strp.2024.49.1.5","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.5","url":null,"abstract":"Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"35 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141355682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.15
Anna Seidel
This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.
本文研究了战时由女性创作的以城市为主题的文学作品中对女性特质的描述和编码。文章借鉴了朱迪斯-巴特勒对卢斯-伊里格瑞（Luce Irigaray）和亨利-列斐伏尔（Henri Lefebvre）的《空间的生产》（The production of space）的解读，重点分析了莉迪亚-金兹堡（Lidiya Ginzburg）（《Zapiski blokadnogo čeloveka》，1984 年）、安娜-希维什琴斯卡（Anna Świrszczyńska）（《Budowałam barykadę》，1974 年）、兹拉塔-菲利波维奇（Zlata Filipović）（《Le journal de Zlata》，1993 年）和叶夫根尼娅-贝鲁鲁塞茨（Yevgenia Belorusets）（《战争的前兆》，2022 年）的作品。文章认为，这些文本在两个截然不同的层面上挑战了抽象化的、以魅影为中心的意义体系。首先，它们颠覆了由男性权力动力强加于城市空间的抽象空间结构，通过强调城市 "从下往上 "的视角和强调城市生活的私人层面而非制度层面来实现这一目标。其次，它们质疑了语言结构中对女性的抹杀，揭示了战争期间女性所经历的压迫，并展示了重新获得能动性的叙事和语言实践。文章认为，这四部作品不仅偏离了传统的战争叙事，而且以女性作者的身份呼吁人们反对以男性为中心的语言、空间和叙事结构。因此，这些文本提供了一种手段，来阐述女性在战争期间的城市和女性被抹杀的重要经济中的不稳定性和边缘化。
{"title":"Восстановление женственности в городах, подвергшихся воздействию войны: женская активность, пространственнaя субверсия и лингвистическое сопротивление в литературе, созданной авторами-женщинами","authors":"Anna Seidel","doi":"10.14746/strp.2024.49.1.15","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.15","url":null,"abstract":"This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"27 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.9
Anya Free
During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.
{"title":"Exhibiting the Great Patriotic War in Soviet capitals: Moscow, Kyiv, Minsk","authors":"Anya Free","doi":"10.14746/strp.2024.49.1.9","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.9","url":null,"abstract":"During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"23 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141359169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.10
Anna Troitskaya
The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.
解释地方历史的问题与圣彼得堡和其他许多主要历史城市一样，都与圣彼得堡有关。本文探讨了地方（空间）神话和城市叙事这两个概念所包含的现象，它们超越了官方话语的范畴。以隐藏的名胜古迹为基础的另类城市形象与圣彼得堡最普遍的表征之一--与帝国文化传统的联系--形成鲜明对比。令人难忘的地点和故事的选择从可识别的城市地标转向其他物品，这些物品揭示了圣彼得堡特定地点的历史和形象、人们的日常生活以及城市生活的边缘问题。这种探索城市空间的方法被称为 "新地方史"（New Local History），文章将其解释为重新发现城市的历史潜力。文章中列举的例子还显示了新地方史在鼓励居民对自身历史、现代性问题以及参与具有社会意义的项目产生兴趣方面可能发挥的作用。在各种社会文化活动中，人们发现了与城市空间互动的趋势以及对过去进行替代性解释的记忆实践。在俄罗斯记忆政治的背景下，这种方法往往具有反对性。
{"title":"New Local History projects in the unofficial history of the city: The case of St. Petersburg","authors":"Anna Troitskaya","doi":"10.14746/strp.2024.49.1.10","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.10","url":null,"abstract":"The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"47 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.12
Andrzej Polak
In this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century.
{"title":"East or West? Conflict of (hostile) narratives in Petersburg by Andrei Bely","authors":"Andrzej Polak","doi":"10.14746/strp.2024.49.1.12","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.12","url":null,"abstract":"In this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"49 20","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.14
Walentyna Krupowies
This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.
本文分析了维尔纽斯作为中东欧城市的文学表述，该城市的空间成为可以观察到许多民族传统记忆的领域。分析的基础是立陶宛作家的两部小说，即赫尔库斯-昆丘乌斯（Herkus Kunčius）的《维尔纽斯的立陶宛人》（A Lithuanian in Vilnius）和里查尔达斯-加维利斯（Ričardas Gavelis）的《维尔纽斯的扑克牌》（A Vilnius poker），以及用俄语写作的立陶宛犹太作家格里戈里-卡诺维奇（Grigory Kanovich）的作品，即小说《被遗忘的犹太人公园》（The park of forgotten Jews）和自传体回忆散文《关于消失的耶路撒冷的梦》（Dream about vanished Jerusalem）。立陶宛作家的作品揭示了记忆产生冲突的一面。市中心既是纪念自身传统的战场，也是反对他者传统的行动场所，包括隐藏、边缘化和清除。大屠杀之后，维尔纽斯犹太人区不复存在，卡诺维奇的作品重点关注维尔纽斯的犹太人记忆问题。当文学英雄们回顾他们的过去时，记忆就成为了现实。他们在公园里相聚，共同重温过去。通过叙述，我们可以看到维尔纽斯最古老的公园之一是如何变成犹太人纪念地的。
{"title":"Miejska przestrzeń pamięci (na podstawie wybranych utworów Herkusa Kunčiusa, Ričardasa Gavelisa, Grigorija Kanowicza)","authors":"Walentyna Krupowies","doi":"10.14746/strp.2024.49.1.14","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.14","url":null,"abstract":"This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"28 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-29DOI: 10.14746/strp.2023.48.2.4
Anna Boginskaya
The article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness.
{"title":"Источники надежды в меняющейся действительности (на материале романа Бориса Пастернака Доктор Живаго)","authors":"Anna Boginskaya","doi":"10.14746/strp.2023.48.2.4","DOIUrl":"https://doi.org/10.14746/strp.2023.48.2.4","url":null,"abstract":"The article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"99 s395","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139146243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-29DOI: 10.14746/strp.2023.48.2.1
Żanna Niekraszewicz-Karotkaja
Songs with animalistic motifs are widely represented in the traditional culture of Slavic peoples. Songs with bird motifs clearly predominate, as most of them were originally connected with the archaic ritual of the bird wedding. In the course of their centuries of use, their erotic context has been reduced, and their social and didactic motifs have been strengthened. Embodied primarily in the form of grotesques (Czesław Hernas), these songs became an essential element of the cultural literacy (Eric Donald Hirsch) of the people and formed the basis of ethnopedagogy. The playful character and life-like plot collisions played a role of a peculiar psychotherapeutic means, which is confirmed by the reviews of ethnographers, as well as writers, who processed the folklore plots. In the culture of the Slavic peoples of the new time, the songs with bird motifs were most widespread, although the ritual of a bird wedding survived only among the Sorbs from Lusatia. Animalistic grotesques contributed to the socialization of a person, their awareness of themselves within various models of collective identity. This is why such poems and songs are especially relevant in the sphere of modern recreational culture, including in the field of preschool pedagogy.
{"title":"Анималистические гротески в фольклоре и литературе славянских народов как художественный антидепрессант и релевантный элемент культурной грамотности","authors":"Żanna Niekraszewicz-Karotkaja","doi":"10.14746/strp.2023.48.2.1","DOIUrl":"https://doi.org/10.14746/strp.2023.48.2.1","url":null,"abstract":"Songs with animalistic motifs are widely represented in the traditional culture of Slavic peoples. Songs with bird motifs clearly predominate, as most of them were originally connected with the archaic ritual of the bird wedding. In the course of their centuries of use, their erotic context has been reduced, and their social and didactic motifs have been strengthened. Embodied primarily in the form of grotesques (Czesław Hernas), these songs became an essential element of the cultural literacy (Eric Donald Hirsch) of the people and formed the basis of ethnopedagogy. The playful character and life-like plot collisions played a role of a peculiar psychotherapeutic means, which is confirmed by the reviews of ethnographers, as well as writers, who processed the folklore plots. In the culture of the Slavic peoples of the new time, the songs with bird motifs were most widespread, although the ritual of a bird wedding survived only among the Sorbs from Lusatia. Animalistic grotesques contributed to the socialization of a person, their awareness of themselves within various models of collective identity. This is why such poems and songs are especially relevant in the sphere of modern recreational culture, including in the field of preschool pedagogy.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"74 s330","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139146553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-29DOI: 10.14746/strp.2023.48.2.10
Larisa Mikheeva
Scientists describe the way young people (school children and university students) think today, as a fundamentally superficial, fragmentary, illogical mosaic. This mode of thinking significantly differs from the conceptual thinking specific to previous generations. Easy access to Internet content and electronic technologies induces students to plagiarize and to resign from independent action. The paper presents fragments of essays and exam tests bearing traces of Internet content manipulation. This practice is not considered as unethical by a number of students. However difficult it may seem to efficiently counteract the habit of copying and pasting material available online, it can be channeled into appropriate approaches and methods. To accommodate these recent changes in cognitive mechanisms, the educational material, and the theoretical elements which are offered to the modern pupils and students, one should intensively focus on contextualizing fragmentary information, providing records in the modernized forms such as modules, flowcharts, algorithms, and mind maps. This approach may help students overcome the inconsistency in the reception and reproduction of the information and avoid serious mistakes in their comprehension of the presented facts. The adaptation of the teaching techniques can form in students the skills of extracting the most important facts, following cause and effect relationships, and structuring the data accordingly.
{"title":"Студент плюс-минус Интернет, или интернет-составляющая в компетенции русиста","authors":"Larisa Mikheeva","doi":"10.14746/strp.2023.48.2.10","DOIUrl":"https://doi.org/10.14746/strp.2023.48.2.10","url":null,"abstract":"Scientists describe the way young people (school children and university students) think today, as a fundamentally superficial, fragmentary, illogical mosaic. This mode of thinking significantly differs from the conceptual thinking specific to previous generations. Easy access to Internet content and electronic technologies induces students to plagiarize and to resign from independent action. The paper presents fragments of essays and exam tests bearing traces of Internet content manipulation. This practice is not considered as unethical by a number of students. However difficult it may seem to efficiently counteract the habit of copying and pasting material available online, it can be channeled into appropriate approaches and methods. To accommodate these recent changes in cognitive mechanisms, the educational material, and the theoretical elements which are offered to the modern pupils and students, one should intensively focus on contextualizing fragmentary information, providing records in the modernized forms such as modules, flowcharts, algorithms, and mind maps. This approach may help students overcome the inconsistency in the reception and reproduction of the information and avoid serious mistakes in their comprehension of the presented facts. The adaptation of the teaching techniques can form in students the skills of extracting the most important facts, following cause and effect relationships, and structuring the data accordingly.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"218 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139145348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-29DOI: 10.14746/strp.2023.48.2.8
Daniel Piecewicz
The article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage.
{"title":"Non-speech information w angielskich i rosyjskich napisach Closed Captions zawartych w serialu Эпидемия. Analiza kontrastywna","authors":"Daniel Piecewicz","doi":"10.14746/strp.2023.48.2.8","DOIUrl":"https://doi.org/10.14746/strp.2023.48.2.8","url":null,"abstract":"The article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"217 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139145353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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