Between a demonstrative and an article. The status of "in" in Old Swedish

The definite article in the Modern Nordic languages is a suffix, etymologically related to a demonstrative. The form is not attested in runic inscriptions, the oldest linguistic sources, but first appears in Icelandic sagas as well as in Swedish and Danish legal codices from 13th century onwards. However, in these texts it does not appear with the same regularity as in modern languages. The Old Swedish form constitutes an intermediate form between a demonstrative, from which it is derived, and the article it has become in Modern Swedish. In the oldest texts it appears in contexts where demonstratives can only be found sporadically and its form suggests it no longer is a demonstrative. At the same time it is not yet obligatory. The aim of this paper is to show the grammaticalization of the definite article as a gradual, dynamic process, involving changes in the form and functional scope of the grammaticalizing item and to consider the properties of the Old Swedish form -in, derived from the distal demonstrative hin ‘that’.

„Moja osobista przestrzeń” – prywatne wirtualne kolekcje sztuki

The phenomenon analyzed in the essay My Personal Space – The Private Virtual Collections of Art is the possibility of visiting the world’s museums by means of the Internet – visiting indirect, nevertheless enabling peaceful, profound, multiple and free contemplation of art. The function of Mon espace personnel (My Personal Space) of French museums of Louvre and Orsay that reveals some radical modifications in the perception, understanding and reception of art, is an illustration of this phenomenon. Using Mon espace personnel means traversing the virtual Louvre or Orsay and choosing works of art, their descriptions, analyses, publications etc. and then adding them to the internaut’s personal thematic albums. The phenomenon described is a starting point to the reflection on the significance of the space in which art exists (called, according to Golka, the form of art’s presence) with its ontology as well as its functions and the character of its reception. The identification of what this space is, in the context of the hybridization of the form and the content and the emergence of the computer culture (Manovich) as well as in the context of the popularization of the reality (Krajewski) and the decentralization of the world of art (Wójtowicz), is an important part of this essay. These phenomena are also inscribed in a wider context of the changes of the character, mission and role of the museum in the time of the digital revolution.

„Uksiążkowić świat”, czyli kilka słów o liberaturze

Celem artykułu jest przybliżenie kwestii dotyczących nowego zjawiska w literaturze, choć swymi korzeniami sięgającego czasów bardzo odległych, mianowicie liberatury. Przedstawiam nie tylko podstawowe tezy związane z liberaturą, np. postrzeganie utworu jako integralnej całości, w której następuje stopienie słowa i przestrzeni, ale także swoistą ewolucję form literackich, prowadzącą do narodzin nowego nurtu. Sednem tego procesu jest położenie nacisku na współistnienie formy i treści, obecne już w poezji wizualnej wywodzącej się ze starożytności i średniowiecza, a przybierające na sile w twórczości autorów związanych z XX-wiecznymi ruchami awangardowymi. „Totalne” myślenie o literaturze zyskało najciekawszy wyraz w twórczości autorów liberatów: Zenona Fajfera, Katarzyny Bazarnik i Radosława Nowakowskiego (zarówno praktyków, jak i teoretyków liberatury), których sylwetki oraz dzieła przedstawiam pokrótce w niniejszym artykule.