The bahuvrīhi Compound Between Zeroing and Contrastive Accentuation: Vedic Sanskrit Model and Pāṇini’s Model

This article aims to explore how Pāṇini’s model of the bahuvrīhi compound may be diachronically correlated to the bahuvrīhi compound as attested in the Vedic Sanskrit language, thus accounting for the two Pāṇinian requisites: zero-ending for all the constituents and accentuation on the first constituent, contrastively employed in relation to the determinative compounds. Since Pāṇini’s work is based on the Brahmanical scholarly tradition, the sources of his bahuvrīhi model are also to be found in the Brahmanical scholarly milieux. The locus classicus is the case of índraśatru, which starts off the process of uniformation and regulation of bahuvrīhi compound stressed on the first constituent. The same scholarly-discussed índraśatru compound is mentioned in the late Rigvedic textual layer (R̥V 1.32.6; 1.32.10), as an expressive poetic device. Therefore, the two Pāṇinian characteristic traits of the bahuvrīhi compound are inherited from a peculiar blend of poetic language and linguistic exegesis.

Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora

The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs.Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.

La visualité exacerbée chez Georges Bataille (et Luis Buñuel) : l’image de l’œuf et ses implications obsessionnelles dans Histoire de l’œil (1928) et Un Chien andalou (1929)

The aim of the study is to analyze Bataille’s Story of the Eye (1928) and Buñuel’s An Andalusian Dog (1929) as accurate examples of artworks that were broadly inspired by images from subconsciousness. Both authors are particularly fascinated by the ‘eye’ which becomes an object of obsession in their output. The ocular reference is however often replaced with the image of the egg, by the process of metonymy that has its origin in Bataille’s imagination and early compulsions. As such, both eye and egg, initially being almost divine, gradually become deformed, abject and, ultimately, annihilated. The image of eye and egg, symbolically the birth of universe, becomes paradoxal in the textual layer, as it’s constantly being deformed by obsessive thoughts from the past.

Funkcja perswazyjno-manipulacyjna emocjonalizmów w exposé Donalda Tuska

The paper discusses the persuasive and manipulative function of emotive expressions in the expose of the newly designated Prime Minister that he delivers to the members of the Parliament. The present Polish Prime Minister Donald Tusk presented his on 23 November 2007. lt is a text in which the logical order seems undermined by the rhetorical order. The domination of the rhetorical over the logical aspect sometimes even leads to conflicts with the grammatical order. This is all due to the extensive use of emotive utterances in the linguistic and the textual layer of the expose. A linguistic exponent of references to emotionality are the frequently repeated lexemes „to feel", „(a) sense (of)", and a set of emotional expressions such as: joy, sadness, affection, pride or shame. These expressions are used with reference to the Prime Minister himself, but also to the emotions of the society (I contend with sadness that, I am glad that, we were all moved, but we also felt ashamed). Among the factors that make Tusk's speech emotive there are also ameliorative terms (e.g. honourable, just, service, modesty and nobility), names of values depreciating the political opponents (e.g. cynicism, opportunism), as well as syntactic constructions (frequent repetitions, antithetic clauses).