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Abstract

The main purpose of this paper is to describe the specificity of Polish academic institutions that employ foreign-born scholars. The empirical material comes from a two-year research project, involving 100 qualitative in-depth interviews with “international” employees and additional 20 with their Polish colleagues, mainly supervisors. The study demonstrated that the organizational units of universities and research institutes employing foreign-born scholars could be divided into four basic types: language departments, “special units” (focused on international cooperation or advanced studies), laboratories, and the “islands.” An additional category is composed of the centers where the academic staff shortage is a serious problem, but this category, unlike the others, is likely to be seriously affected by the ongoing higher education reform. The article adopts a neo-institutional perspective, which enables to analyze these types of units in terms of institutional work (including construction of normative networks, defining, vesting), done by the foreign-born employees.

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Authors and Affiliations

Kamil Łuczaj
ORCID: ORCID
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Abstract

This study is a research reconnaissance into the visual imagery in the poetry of Jan Kochanowski, Poland’s most talented poet before the Romantic Age. Although he was familiar with the technique of ekphrasis and took an interest in emblems, he seems to have been rather sparing in making use of visual potential of the poetic word. However, he does rely on the sense of sight in his epistemological refl ection concerning the problem of knowing God, aesthetics (the experience of beauty) and ethics (the visible order of the world as a guide to proper conduct). The eye also plays a major role in his descriptions of the human psychology, especially love. The sight has a special function in his Treny (Laments), a cycle of elegies written after the death of his baby daughter Urszula in 1579. While addressing the fundamental questions of life and death, Kochanowski draws on visual and aural imagery to convey the devastating pain felt by the father after the death of his beloved child and to question his earlier confi dence in man’s sovereign mind.

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Authors and Affiliations

Roman Krzywy
ORCID: ORCID

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