Werbalizacja metafory kognitywnej MYŚLENIE TO PODRÓŻ na przykładzie polskiego tłumaczenia monografii J. D. Apresjana

This paper is devoted to the analysis of the cognitive metaphor verbalization of THINKING IS A JOURNEY on the examples from Lexical semantics by J.D. Apresjan. Basing on the theory of cognitive metaphor by G. Lakoff and M. Johnson, the author of the article attempts to analyze and present the role of the abovementioned metaphor in scientific texts.

Мотив одиночества в раннем творчестве Ирен Немировски

The subject of analysis in this paper is the motif of loneliness in the early works of Irène Némirovsky (1903–1942). A pessimistic view on human life, which is typical for Némirovsky, is shown by the author of this article on the example of three works: L’Enfant génial, David Golder and Les Mouches d’automne. The main character of each of the works constantly feels misunderstood, alienated and eventually dies, convinced of the meaninglessness of his/her existence. These feelings become common for the characters, which at first glance seem completely different - a Jewish boy from the poor quarter of Odessa, a rich financier living in Paris, and an elderly Russian nanny, who emigrates with her masters. The problem of loneliness in Némirovsky’s writing is closely related to the issues of finding one’s own identity and attempts to overcome the past.

Między Kijowem a Konstantynopolem Relacje Kościoła ukraińskiego z Patriarchatem Ekumenicznym (X–XXI w.)

Relations between the Ukrainian Church and Constantinople were difficult. This goes back as far as 988, when the Christianisation of the Rus created a strong alliance between Kiev and the Byzantine Empire. There were times when Constantinople had no influence over the Kiev Metropolis. During the Mongolian invasion in 1240, the Ukranian region was broken up and Kiev lost its power. The headquarters of the Kiev Metropolis were first moved to Wlodzimierz nad Klazma in 1299 and then to Moscow in1325. In 1458 the Metropolis of Kiev was divided into two; Kiev and Moscow, but Kiev still remained under the jurisdiction of the Patriarchate of Constantinople. Since that time, the orthodox hierarchs of Moscow no longer adhered to the title Bishop of Kiev and the whole of Rus and in 1588 the Patriarchate of Moscow was founded. In 1596 when the Union of Brest was formed, the orthodox church of the Polish Lithuanian Commonwealth was not liquidated. Instead it was formally revived in 1620 and in 1632 it was officially recognized by king Wladyslaw Waza. In 1686 the Metropolis of Kiev which until that time was under the Patriarchate of Constantinople was handed over to the jurisdiction of Moscow. It was tsarist diplomats that bribed the Ottoman Sultan of the time to force the Patriarchate to issue a decree giving Moscow jurisdiction over the Metropolis of Kiev. In the beginning of the 19th century, Kiev lost its Metropolitan status and became a regular diocese of the Russian Orthodox Church. Only in the beginning of the 20thcentury, during the time of the Ukrainian revolution were efforts made to create an independent Church of Ukraine. In 1919 the autocephaly was announced, but the Patriarchate of Constantinople did not recognize it. . The structure of this Church was soon to be liquidated and it was restored again after the second world war at the time when Hitler occupied the Ukraine. In 1992, after the dissolution of the Soviet Union, when Ukraine gained its independence, the Metropolitan of Kiev requested that the Orthodox Church of Ukraine becomes autocephalous but his request was rejected by the Patriarchate of Moscow. Until 2018 the Patriarchate of Kiev and the autocephalous Church remained unrecognized and thus considered schismatic. In 2018 the Ecumenical Patriarchate of Constantinople looked into the matter and on 5thJanuary 2019, the Orthodox Church of Ukraine received it’s tomos of autocephaly from Constantinople. The Patriarchate of Moscow opposed the decision of Constantinople and as a result refused to perform a common Eucharist with the new Church of Ukraine and with the Patriarchate of Constantinople.

Odessa i Sarajewo. Dyskurs przestrzeni miejskiej. Uwagi wstępne

This paper aims at sketching cultural portrayals of the Ukrainian city Odessa and the Bosnian capital, Sarajevo, with reference to their current socio-political situation. Cultural visions of both places not only tend to have a lot in common, paradoxically due to the differences that they share but also the ones present in various texts of culture. Thus, both cities can boast their own myths. The symbolic space is approached among others through the prism of Vladimir Toporov’s theory. The city perceived by some researchers as a metaphor of culture functions as a kind of laboratory that fixates social and cultural changes emerging within the society on the microscopic scale. In addition, the current geopolitical situation of those places is mentioned with its war/conflict aftermath that contributes to certain city image.

Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst

Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.

Język i struktura Грамоты кн. Дмитрия Юрьевича в. кн. Василию Васильевичу. Problem tekstowości

The paper analyses an Old East Slavic document – Грамота кн. Дмитрия Юрьевича в. кн. Василию Васильевичу in the context of its textuality. The language and structure of the text are described in order to prove that it can be analysed as a text in the meaning applied in modern text linguistics. Moreover, the paper shows that a wider investigation is necessary in order to prove its stylistic and genre features.

Радянський джентльмен: український професор супроти викликів історії

The emphasis is placed on the main character’s personal, national and academic identity. A university professor and a linguist, the protagonist constructed his identity through combining the elements of Sovietness, Englishness, and Ukrainianness. While focusing on the protagonist’s identity quest, the author also identifies historical context of the novel, which is rooted in Ukrainian socio-historic reality throughout the 1950s-2010s.

Nabokow w masy: Obrona Łużyna na dużym ekranie

The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of The Luzhin Defence creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge.

Specyfika opisu „szczęśliwych” posągów na stacji metra Plac Rewolucji w rosyjskich źródłach internetowych

The purpose of this paper is the descriptive analysis of “happy” statues in the Revolution Square underground station in Russian Internet sources. The range of the study embraces article titles, structure of content presentation, information about the genesis of "rubbing" items, personal stories and iconographic aspect. The research material is taken Russian e-commerce industry websites that operate in the tourism, fashion, interior and home design, financial services, as well as travel blogs.

«Дожити до ста»: моделювання героя в романі Володимира Лиса Століття Якова

The article is devoted to the study of the novel by Vladimir Fox, The Age of Jacob. The main purpose is to analyze ways of modeling identity in the context of the axiological priorities of the protagonist as a collective image of the Ukrainian peasant in the 20th century.