Dans la tradition sémitologique le problème du «bilitèrisme ou «trilitérisme» de la racine consonantique est traité d’habitude avec la réconstruction linguistique des unités parentes. Ici on propose de traiter le processus de la «triconsonantisation» de la racine consonantique comme un résultat de l’action des facteurs morphologiques: le paradigme verbal et le paradigme de la flexion «interne».
The article presents a comparative analysis of various classifi cations of both sciences’ and management sciences’ paradigms in terms of their pragmatism and adequacy regarding organization research. Furthermore, the aim of the article is also to justify the thesis about the high usefulness of research model proposed by Keneth D. Strang. Strang’s model, based on the concept of researcher’s socio-cultural philosophy, allows on the one hand to overcome the theoretical incommensurability and on the other hand makes it possible for representatives of various paradigms to cooperate with each other. The article contains also refl ections on the paradigm as a key factor affecting both the development of management sciences and the practice of management. The choice of a specifi c paradigm, i.e. research ideology, has a decisive impact on the results of research, as well as the generalization of practice. The paradigm defi nes the research strategy, selection of research methods and inference rules. Furthermore, it infl uences the education process, and thus has an impact on shaping the worldview of scientists, entrepreneurs as well as managers.
Balmont’s only contribution to Russian Symbolist Drama is discussed in the forthcoming article as an attempt of quitting narcissistic “lyrical solitude”, which parallels Blok’s situation upon staging the play Balaganchik. Motifs of the mythologeme of Narcissus scattered all over Balmont’s poetry and prose, given narcissistic features of his individual character seem to reinforce that a subtle decoding of the myth as a sujet of semiosis, constitutes one of the chief constructive principles of the play. By means of contrasting allusions to the Blue Flower of Novalis Balmont accentuates metamorphosis via dematerialisation and transmutation coded in the myth. The pattern of colour and fl oral imagery juxtaposing the complementary yellow and blue is meant to reveal the harmony of universal correspondences shown through the omnipresent principle of the Eternal Feminine.
Japanese literature has been known in Poland at least since the end of the 19th century, when first translations were made of Japanese prose and poetry (although via English or other languages). I consider the first translation made directly from Japanese into Polish language a short story by Kikuchi Kan, entitled Tusz ('Ink'), published in April of 1939, in a monthly magazine "Echoes from Far East." In the same magazine we can find also many examples of stories and poetry written not by Japanese, but by Polish authors, fascinated with Japan and its culture. Works by the same authors: Maria Juszkiewiczowa, Aleksander Janowski, Antoni Kora, Leon Rygier, Remigjusz Kwiatkowski and others were published also in other newspapers and magazines, and as separate novel books. While some short mentions about the earliest translations may be found in books on Japanese literature and contacts between Poland and Japan, novels, stories and poems written originally by Polish authors inspired by Japan are now all but forgotten. Hardly any of them were published again after World War II and they are not to be found in regular libraries. In the present paper I concentrate on the forgotten jewels of Polish prose (and to some extent poetry and drama) based on Japanese themes, published before World War II.
This article examines the coverage of German themes in Polish local press by focusing on a number of newspapers and periodicals published at Siedlce in the 1930s, i.e. Gazeta Podlaska, Nowa Gazeta Podlaska, Głos Podlaski, Ziemia Siedlecka, Wiadomości Diecezjalne Podlaskie and Życie Podlasia.