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Copyright of Slovo a Slovesnost is the property of Academy of Sciences of the Czech Republic, Czech Language Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scientific Journal of Polonia University is the property of Polonia University of Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on publications by Karel Hausenblas on questions surrounding literature and literary texts. Hausenblas is one of the classics of Czech linguistic bohemistics, but he also published numerous articles of significance to the study of literature. This overview describes the main areas of Hausenblas's literary explorations: His conception of style as a principle that integrates all levels of texts into a dynamic unit proved to be adequate to the complex structure of literary works. He analyzed the use of language in the works of various Czech writers and explored the semantic, thematic and communication structures in literature. He also dealt with the features of poetry and with the problems of literary translation. Karel Hausenblas's legacy, combining theoretical elements with thorough analyses, still deserves interest and inspires us to follow. [ABSTRACT FROM AUTHOR]

Copyright of Biuletyn Polskiego Towarzystwa Językoznawczego is the property of Polish Linguistic Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artykuł dotyczy polskiej muzyki fortepianowej w latach 2000-2017. W XXI wieku nastąpił wzrost zainteresowania twórców fortepianem. Wśród kilkuset napisanych utworów można wyróżnić gatunki i formy tradycyjne (jak mazurek, toccata, sonata, wariacje, preludium, etiuda, nokturn), jak i o innej formie i tytule. Utwory te można ułożyć w cztery grupy: nurt postmodernistyczny, nurt modernistyczny, nurt neomodernistyczny, nurt antymodernistyczny oraz ujęcia hybrydowe, czyli takie, w których kompozytorzy stosują dwudziestowieczne i dawniejsze (romantyczne) środki techniki kompozytorskiej. Do analiz wybrano utwory przedstawicieli nurtów: postmodernizm: Krzysztof Baculewski i Andrzej Dziadek, neomodernizm: Paweł Kwapiński, antymodernizm: Paweł Michał Chmielnicki, Tomasz Kamieniak, ujęcia hybrydowe: Maciej Zieliński i Piotr Gryska. Tematyka nie doczekała się dotychczas naukowego opracowania.

Despite the fact that communication usually takes place on the basis of several modes, in the past the stylistics was mainly focused logocentrically, and multimodality was only discussed in linguistics in the 1990s. Nowadays, a specific picture-textual narrative, or a literary work, that is built on several semiotic models affecting the meaning and the sense of the story, begins to appear more often in literature for children and youth. As a result, the literary style, which is the subject of analyzes of literary science, criticism and linguistics, especially stylistics as a science of communication, acquires new attributes. Digitization and electronic transmission of information cause changes in the quality and quantity of the modes used in communication in general, and the participation in the multimodal way of communication increases. In the study, we deal with the definition of multimodality and the characteristics of the multimodal style of non-fiction literature, which are the starting points for research into the multimodal text comprehension at junior school age. [ABSTRACT FROM AUTHOR]

W artykule poddano analizie XIX-wieczny zbiór wzorów listów przygotowany przez Józefa Chociszewskiego dla dzieci i młodzieży: Listownik dla młodzieży zawierający wzory listów z dodatkiem powinszowań, łamigłówek, wierszyków, powiastek i nauki grzeczności dla młodzieży (Bytom 1900). Przyjrzano się zamieszczonym w tej publikacji tekstom listów pod kątem wykorzystania przez autora ich cech gatunkowych (na płaszczyźnie strukturalnej, pragmatycznej, poznawczej i stylistycznej) dla edukacji młodzieży. Listownik Chociszewskiego to nie tylko zbiór przykładów korespondencji dziecięco-młodzieżowej, ale przede wszystkim narzędzie służące różnym aspektom edukacji i wychowania młodych Polaków w czasie zaborów. Autor starał się rozwijać u swoich czytelników ogólną kompetencję językową i zachęcić do używania języka polskiego, przedstawiając bardzo bogaty wybór leksyki, formuł i środków stylistycznych do odtwarzania w różnych sytuacjach komunikacyjnych. Uczył ich przy tym językowego savoir-vivre’u. Wyraźny cel edukacyjno-wychowawczy miały także: dobór treści listów fikcyjnych i wybór autorów listów autentycznych oraz przedstawiony w nich bogaty system wartości charakterystycznych dla polskiej katolickiej rodziny. Chociszewski dążył w ten sposób do ukazania w listowniku polskiej kultury i do kształtowania polskiej świadomości narodowej.

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The work of Vladislav Vančura has attracted the attention of literary theorists from the very beginning. Among other attempts to get a theoretical grip, those offered by Jan Mukařovský and Lubomír Doležel provide us with two different but methodologically connected approaches to the author's work. These represent two phases of Czech structuralist thought about literature. This study critically compares both approaches and highlights their similarities and dissimilarities. [ABSTRACT FROM AUTHOR]

Copyright of South African Journal of Cultural History / Suid-Afrikaanse Vereniging vir Kultuurgeskiedenis is the property of South African Society for Cultural History and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Św. Hieronim znany jest jako wybitny znawca literatury antycznej i naśladowca jej znakomitych autorów, jak również klasycznego języka łacińskiego. Stosunkowo niewielkie obecnie zainteresowanie jego twórczością w gronie młodszych filologów i patrologów skłoniło Autora artykułu do ukazania walorów jego języka i stylu naśladującego znakomitych pisarzy i poetów łacińskich, przede wszystkim Cycerona. Już ukazaniem w wąskim zakresie jego wykształcenia i oczytania, pragnie Autor artykułu pobudzić chęć do poważniejszych studiów jego wcale niemałej, a często wybitnej, nie tylko pod pod względem teologicznym, ale i literackim, twórczości. Przytoczone przykłady niektórych elementów języka łacińskiego, jakim posługiwał się Św. Hieronim, budzi uznanie dla jego zdolności i wiedzy.

Winckelmannova snaha vysvětlit změny stylu v umění proměnila odbornou znalost v samostatnou vědeckou disciplínu. Jeho následovníci se na tomto nově otevřeném poli dějin umění pokoušeli překročit pouhý popis změn k vysvětlení pomocí hlubších, často filozofických příčin. Ve svých textech z šedesátých let se o svůj vlastní fenomenologicky založený výklad dějin umění pokusil i Jan Patočka. I on se odvolává, přestože kriticky, na Winckelmanna a některé další významné teoretiky dějiny umění, jmenovitě na Riegla, Wölfflina, a Sempera. Filozoficky se pak Patočkův pokus rýsuje na pozadí Hegelovy Estetiky a Heideggerovy fenomenologické koncepce uměleckého díla. Patočkův vlastní pokus z šedesátých let nicméně trpí řadou nedostatků. Patočkovo rozdělení dějin umění na období umělecké a estetické nevykazuje na první pohled žádnou souvislost s druhým dělením, které Patočka zavádí, s dělením na období stylu a imitace. Patočka rovněž nechává nedostatečně zodpovězenou otázku, zda přechody mezi jednotlivými érami pramení pouze z rozdílného kulturně společenského kontextu, či jsou podle způsobeny hlubšími příčinami ontologického rázu. Ontologický charakter uměleckého díla pak nechává pouze naznačen. Cílem tohoto článku je ukázat, jak Patočkova kritická recepce některých momentů Ingardenovy estetiky pomohla vyjasnit a zodpovědět některé problémy jeho vlastní koncepce.

On the occasion of the second edition of Jiří Opelík’s first monograph of Josef Čapek (1980, 2017), this article traces its original context and outlines its significance for Czech literary historiography of the modernist movement: the limits of its contemporary reception contrasting with its massive later impact on literary scholarship, the context of the monograph series published by the Melantrich house (1961–1995), the links with the art historical debates concerning the art nouveau style and the art of the fin de siècle, the situation of literary criticism in the 1970s both in the communist Czechoslovakia and abroad, and, finally, the context of Jiří Opelík’s long term engagement with the works of the Čapek brothers and Josef Čapek in particular.

The article is devoted to illustrating two aspects of the drama of shaping artistic style, experienced by Gustave Flaubert. In reference to the thought which inspired the author (the notion of 'little back shop' by Michele de Montaigne), this drama of forming style is being reconstructed, as facilitated by two collections of letters. The first is the chronologically earlier one (letters written to Louise Colet), and the second is the latter collection (correspondence with George Sand). Thus, a conclusion stipulating that the first aspect of the drama of forming style unfolds at a basic level (the choice of linguistic toolkit), and the second aspect touches on the next, artistically more organised level (proficiency in the chosen toolkit), stems from correlating a correspondence analysis with the philosophical interpretation of the notion in which 'little back shop' belongs semantically. This is 'solitude'. It is the interpretation of 'solitude' suggested by Piotr Domeracki, which has been used as a methodological instrument in depicting the differing aspects of Flaubert's 'little back shop'. [ABSTRACT FROM AUTHOR]

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Vox Patrum is the property of Wydzial Teologii KUL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article attempts to answer the question of what is responsible in the column text for attributing to the authors only positive or neutral image features. The basis is the analysis of the empirical data collected with the participation of respondents, who after reading the column stated the characteristics of the author – in their view – shown in the presented text, and then indicated fragments expressing each of the attributed image features. They read the utterances of Krzysztof Varga, Piotr Zaremba, Magdalena Środa and Szymon Hołownia. It is interpreted that although the influence of such a relatively positive perception of the columnists could be influenced by the research procedure itself, which limited the critical approach to the author (defining its characteristics directly after reading the text), it seems that the most important means of convincing to themselves was the discursive design of the text (generalizations, strongly vocabulary, humour with irony, common parlance) and reading the entire text, which could give an effect of understanding and respect for the author even in the absence of his views.

Copyright of Biuletyn Polskiego Towarzystwa Językoznawczego is the property of Polish Linguistic Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Toruńskie Studia Polsko-Włoskie / Studi Polacco-Italiani di Toruń is the property of Nicolaus Copernicus University in Torun, Faculty of Law & Administration and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Throughout the last 80 years, scholars and film critics have tried to define film noir and come up with various theories. Some claim film noir is a genre, others classify it as a style. The definition of the phenomenon appears to be rather elusive. In consequence, some films are classified as noir or neo-noir even though they seem not to meet the necessary requirements to be categorized as such. The following article examines the most popular theories on film noir and explains why it is impossible to construct one and final definition. [ABSTRACT FROM AUTHOR]

Copyright of Białorutenistyka Białostocka is the property of University of Bialystok and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main goal of the study is to describe the way of implementing selected media texts of the genre editorial for women, with the accent on lexical linguistic tools. The study analyses meaning and using of the lexeme woman in editorial of Evita's magazine. Methodologically, it is based on the qualitative research methods of empirical observation and stylistic analysis and interpretation. On the background of the expressive concept of style, it concentrates on the expressive category of emotionality and its structural indicators, specifically, lexical means, as carriers of style and stylistic emotional values in specific woman's press. Our research shows that every actual use of the lexeme woman in the editorial of Evita's magazine causes its pragmatic value to be automatically (stereotypically) updated in this context. For example, these are interpretations of the lexeme woman: woman is strong, woman is solidarity, woman is beautiful, woman is happy, woman calms emotions, woman likes other women, woman is a friend, woman dreams. In the study we conclude that the lexema woman is characterized by the potential to acquire emotional value in actual perception in the editorial of specific media's context. [ABSTRACT FROM AUTHOR]

Copyright of Opera Slavica is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Henryk Sienkiewicz is not only a well-known Polish writer appreciated for his mastery of language but also a journalist – reviewer, reporter and columnist of Warsaw newspapers of the second half of the 19th century. The paper is devoted to the most important features of Sienkiewicz’s journalistic workshop: skilful use of informal Polish with its phraseological and idiomatic vocabulary and aphorisms. Sienkiewicz, also known by the pseudonym „Litwos”, masterly used syntactic means: for creation and gradual increase of tension, for using rhythm in statements and for exposing those meanings that cannot be expressed only by words. Rich syntactic constructions based on parallel structures emphasized with anaphora or contrast and frequent use of enumeration are his favorite ways of building sentences. The importance of contextual background of Henryk Sienkiewicz’s workshop implied by his upbringing, education and interests is also stressed in this paper.

Artykuł dotyczy polskiej muzyki fortepianowej w latach 2000-2017. W XXI wieku nastąpił wzrost zainteresowania twórców fortepianem. Wśród kilkuset napisanych utworów można wyróżnić gatunki i formy tradycyjne (jak mazurek, toccata, sonata, wariacje, preludium, etiuda, nokturn), jak i o innej formie i tytule. Utwory te można ułożyć w cztery grupy: nurt postmodernistyczny, nurt modernistyczny, nurt neomodernistyczny, nurt antymodernistyczny oraz ujęcia hybrydowe, czyli takie, w których kompozytorzy stosują dwudziestowieczne i dawniejsze (romantyczne) środki techniki kompozytorskiej. Do analiz wybrano utwory przedstawicieli nurtów: postmodernizm: Krzysztof Baculewski i Andrzej Dziadek, neomodernizm: Paweł Kwapiński, antymodernizm: Paweł Michał Chmielnicki, Tomasz Kamieniak, ujęcia hybrydowe: Maciej Zieliński i Piotr Gryska. Tematyka nie doczekała się dotychczas naukowego opracowania.

Copyright of Tekst i Dyskurs is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Praca podejmuje próbę charakterystyki pozwu w zakresie aspektu strukturalnego, pragmatycznego, poznawczego i stylistycznego. Pozew, bez wątpienia zaliczany do gatunków urzędowych, wykazuje cechy podania czy wniosku i poddany jest sformalizowanej strukturze. Jego występowanie jest zawężone tylko do instytucji sądowych. Surowa forma tego gatunku odrzuca zastosowanie ogólnie przyjętych, choćby w podaniach zwrotów grzecznościowych. Jednak w swej najważniejszej części – uzasadnieniu – pozew okazuje się być tworem silnie zindywidualizowanym, zależnym od kompetencji językowej i prawnej autora. W tym zakresie autor sam określa swój styl, który zależny jest od jego sytuacji życiowej i towarzyszących emocji.

On the occasion of the second edition of Jiří Opelík's first monograph of Josef Čapek (1980, 2017), this article traces its original context and outlines its significance for Czech literary historiography of the modernist movement: the limits of its contemporary reception contrasting with its massive later impact on literary scholarship, the context of the monograph series published by the Melantrich house (1961-1995), the links with the art historical debates concerning the art nouveau style and the art of the fin de siècle, the situation of literary criticism in the 1970s both in the communist Czechoslovakia and abroad, and, finally, the context of Jiří Opelík's long term engagement with the works of the Čapek brothers and Josef Čapek in particular. [ABSTRACT FROM AUTHOR]

Copyright of Studia Jezykoznawcze: Synchroniczne i diachroniczne aspekty badan polszczyzny is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the possibility of researching the Upper Silesia region city archives ranging from the 16th to the 18th century. Some of the sources have already been analysed from the historical and linguistic perspective; however, current developments in style and discourse analysis offer new interpretative vistas. So far, city archives have been treated as texts representing the language of official documents, whose major characteristics are the use of schematic syntax, templates, and specialised terminology. Including such sources in the study of legal discourse allows for a broader range of interpretations. These could go beyond formal textual indicators and form a basis for recreating the worldview and value system in past urban communities. City archives, in particular court records, may be used for recreating the everyday language people spoke centuries ago. [ABSTRACT FROM AUTHOR]

Introduction: Styles of coping with stress have preoccupied psychologists for several years, but also scientists representing other disciplines, particularly medicine, pedagogics and sociology. Employees of the State Emergency Medical Services are particularly exposed to emotional and physical stress. Paramedic students are trained in simulation rooms where they learn how to make rational decisions and receive occupational training in a real-life setting reflecting normal conditions of their future work. Certainly, all of these factors in combination give future paramedics an understanding of their profession. The aim of the study was to evaluate styles of coping with stress and the level of exposure to stress among professionally active paramedics and paramedic students. Materials and methods: The level of exposure to stress was evaluated with the PSS-10 test, and styles of coping with stress were identified using the CISS questionnaire. Results: The study group involved 87 (100%) respondents, of whom 29 (33.33%) were paramedics working in the State Medical Rescue System, 29 (33%) were first-degree paramedic students of the Pomeranian Academy in Słupsk, and 29 (33%)) were paramedic students of the 2-year course at the Private School for Adults and Adolescents. The mean age of respondents was 29.91 (SD = 7.75). In relation to stress coping styles the highest mean scores were found for the task-oriented style. Among the professionally active paramedics work experience significantly influenced the level of stress and stress management styles (p = 0.0000). Conclusions: The task-oriented style of coping with stress pre-dominated among paramedic students and professionally active paramedics. [ABSTRACT FROM AUTHOR]

Copyright of Res Rhetorica is the property of Polish Rhetoric Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the analysis of the poem by Adam Naruszewicz Duma do słowika that is the translation of the ode by Jean‑Baptise Rousseau, A Philomele. The poem’s narrative order is marked out by the comparison of the two texts; and all that is done to show the way Polish poet rendered the original text. In the article particular attention is paid to the differences between fragments of the French work and Polish Duma do słowika. But above all, the analysis brings out the fact that Naruszewicz’s style was quite distinct, and the relation of lyrical I to the recipient of the utterance is slightly different from that in the Rousseau’s poem, which is particularly noticeable in the ending passage of the Polish work. Important features of the Naruszewicz‑as‑a‑translator’s technique are also discussed.

“Painting with words” – on the style of Henryk Sienkiewicz’s reports from painting exhibitions The paper aims to characterize the style of H. Sienkiewicz’s reports from painting exhibitions. The stylistic features have been determined from the genological perspective, with the assumption that the report is an alternative template for the review. The main stylistic features of the analysed texts are: 1. suggestiveness, graphical character, and persuasiveness, as features resulting from how the intention of the text was realized; 2. weakened adherance to templates, owing to the possibility of realization of various structural variants; and 3. eclectic nature, related to the richness of stylistic registers, including a sizeable repertory of means belonging to the artistic style, thematic vocabulary, and vocabulary directly linked to the subject of painting. Specialist vocabulary, concepts and terms characteristic of the art of painting, constitute a specific group.

Stylistic differentiation in Mateusz Cygański’s Myślistwo ptasze, w którym się opisuje sposób dostawania wszelakiego ptaka The paper discusses stylistic differentiation of a 16th century hunting guide Myślistwo ptasze, w którym się opisuje sposób dostawania wszelakiego ptaka (‘Bird hunting, describing the method to catch any bird’, published 1584) by Mateusz Cygański. An analysis of the text has shown that it is possible to indicate in it examples of mutual entanglement of two stylistic registers. Due to a secondary recording of the text (owing to the author’s illiteracy), the language of this monument is characterized by multiple indicators of the colloquial style, while elements of specialist style that can be found in it, are the result of capturing colloquiality in a certain intellectual rigor enforced by the contemporary editorial and genre convention.

Przedmiotem artykułu jest określenie kryteriów kategorii, które decydują o kwalifikacji porozumienia - ugody jako tekstu oficjalnego. Tekst umowy jest sformalizowany i ma charakterystyczną strukturę. Tekst ugody łączy w sobie właściwości tekstowe i instrumenty mocno osadzone w systemie prawnym. W artykule podkreślono znaczenie relacji między prawem i językiem oraz konieczność współpracy prawników i językoznawców w bieżących badaniach z zakresu tekstów. Autor podchodzi do tematyki tekstu ugody z perspektywy pragmalingwistycznej nauki o tekście, lingwistyki prawniczej. Umowa ugody jest to kompletny język akcji, który reprezentuje styl tekstu oficjalnego.