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2020 | 11 | 2 | 343-352
Article title

Jan Švankmajer’s Kunstkammer: Every thing means everything

Content
Title variants
Languages of publication
EN
Abstracts
EN
Thesis. Jan Švankmajer’s Kunstkammer is a project with a complex constellation of meaning that defies clear-cut categorization in the context of Pomian’s theory of semiophores.  Discussed concepts. The paper describes the kunstkammer art project created by Jan Švankmajer, a Czech surrealist, in the context of Pomian’s theory of semiophores and compares it to traditional and historical equivalents, using the concepts of micro- and macrocosm, the world as a stage (Theatrum Mundi), hermeticism, and alchemy.  Results and conclusion. Jana Švankmajer’s Kunstkammer should be analyzed primarily in the individual and subjective context, rather than in the social one.   Originality/cognitive value of the approach. Pomian has described many examples of traditional kunstkammers, but there are also several modern collections that have not yet been described in the literature.  
Year
Volume
11
Issue
2
Pages
343-352
Physical description
Dates
published
2020-09-11
Contributors
  • Anna Brzezińska-Winkiel Faculty of Philology, University of Wrocław, ul. Pocztowa 9, 53-313 Wrocław, Poland
References
  • REFERENCES:
  • Daston, L. ,& Park, L. (1998). Wonders and the Order of Nature 1150-1750. New York: Zone Books.
  • Foucault, M. (2005). The Order of Things. London-New York: Taylor and Francis e-library.
  • Kornhauser, J. (2015). Całkowita rewolucja. Status przedmiotów w poezji surrealizmu [Total Revolution. Status of the Objects in the Poetry of Surrealism]. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego.
  • Markowski, M.P. (1997). Kolekcja: między autonomią i reprezentacją [Collection: between autonomy and representation]. Teksty Drugie: teoria literatury, krytyka, interpretacja, nr 4 (46), 89-103.
  • Pomian, K. (1990). Collectors and Curiosities: Paris and Venice. 1500-1800. Oxford: Polity Press.
  • Pomian, K. (1996). Zbieracze osobliwości. Paryż, Wenecja, XVI-XVIiI w. [Collectors and Curiosities: Paris and Venice. 1500-1800]. Warszawa: Państwowy Instytut Wydawniczy.
  • Pomian, K. (1995). Jak uprawiać historię kultury? [How to deal with the history of culture] Przegląd Historyczny, 86/1, 1-13.
  • Purš, I. (2012). Kunstkamera jako Švankmajerův mikrokosmos [Kunstkamer as Švankmajer’s Microcosm]. W: F. Dryje B. Schmitt (red.), Možnosti dialogu - Mezi filmem a volnou tvorbou [Dimensions of Dialogue / Between Film and Fine Art] (ss. 195-218). Praha: Arbor vitae.
  • Schmitt B., (2012). Podrobný komentovaný životopis (III) 1990-2012 [Detailed biography (III) 1990-2012]. W: F. Dryje B. Schmitt (red.), Možnosti dialogu - Mezi filmem a volnou tvorbou [Dimensions of Dialogue / Between Film and Fine Art] (ss. 195-218). Praha: Arbor vitae.
  • Švankmajer, J. (2018). Cesty spasení [Way to salvation]. Praha: Dybbuk.
  • Švankmajer, J. (2014). Naturalia. https://www.artmap.cz/jan-svankmajer-naturalia/
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.ojs-doi-10_15503_jecs2020_2_343_352
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