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1

O doświadczeniu starości w kontekście współczesnych dylematów egzystencjalnych. Film „Elena” Andrieja Zwiagincewa

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Waligórska-Olejniczak B.
Slavica Wratislaviensia
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2016
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vol. 163
313-323
EN
The article constitutes the attempt of looking at the problem of the old age from the point of view of Vladimir, the main male character of Andrei Zvyagintsev’s film Elena. His retired existence can be treated as the model example of the golden autumn of life. This vision can be associated with the images promoted by today’s media as the period of so called “third age”, i.e. old age full of new opportunities, with health good enough to take advantage of newly marketed products guaranteeing comfortable and worry-free life. The publication examines the quality of the family relationships, built up by the selected film character, on the basis of the interpretation of space in which he is meant to function. The analysis allows the author to come to the conclusion that the old age and life experience does not protect the characters from impulsive behavior, which is the consequence of spiritual crisis of the contemporary society and disintegration of the harmony between the individual and the community. The old age in Zvyagintsev film turns out to be the time when the opportunity of improving interpersonal relationships is wasted.
RU
Статья представляет собой попытку взглянуть на проблему старости с точки зрения Владимира, главного мужского героя фильма Андрея Звягинцева Елена. Его пенсионное существование можем рассматривать в качестве примера модели золотой осени жизни. Такой подход связан с изображениями сегодняшних СМИ, представляющих старость как „третий возраст”, то есть период полный новых возможностей, в достаточно хорошем здоровье, чтобы воспользоваться новыми вещами, гарантирующими комфортную беззаботную жизнь. Автор рассматривает качество семейных отношений, созданных Владимиром, анализируя аспекты пространства, в котором он функционирует. Интерпретация позволяет прийти к выводу, что старость и жизненный опыт не защищают героев перед импульсивным по поведением, которое является следствием духовного кризиса современного общества и распада гармонии между индивидом и обществом. Старость в фильме Звягинцевa оказывается периодом, когда возможность повышения межличностных отношений не осуществляется.
2

Танатография. Стратегии представления смерти в фильме Ренаты Литвиновой „Последняя сказка Риты”

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Waligórska-Olejniczak B.
Slavica Wratislaviensia
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2018
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vol. 167
523-532
EN
Thanatography: Strategies of representationsof death in Renata Litwinova’s film Rita’s Last Fairy Tale The aim of the article is the interpretation of Renata Litvinova’s film Rita’s Last Fairy Tale (2012). The author shows that the examples of rite de passage, which are present in the selected work of art, are introduced to neutralize the perception of death. It is done, first of all, due to the strategies of aestheticization and romanticization, which emphasize the conventionality of the world presented. The picture of death proposed by Litvinova is almost entirely devoid of any aspects of physiology. The stylization suggested in the title of the film is realized with the use of elements of retro glamor, dark humor and irony. The process of perception is also focused on the attempt of decoding the film leitmotivs such as the symbolism of the mirror or the ways of theatralization of behavior, taking into account some montage solutions.
PL
Tanatografia. Strategie reprezentacji śmierci w filmie Renaty Litwinowej Ostatnia bajka Rity Celem artykułu jest interpretacja filmu Renaty Litwinowej Ostatnia bajka Rity (2012). Autorka pokazuje, że obecne w dziele rytuały przejścia ukierunkowane są przede wszystkim na osiągnięcie efektu neutralizacji śmierci, między innymi za sprawą wprowadzonych strategii estetyzacji i ro­mantyzacji, podkreślających umowność świata przedstawionego. Obraz śmierci proponowany przez Litwinową jest prawie całkowicie pozbawiony aspektów fizjologii. Zaznaczona w tytule konwencja realizowana jest za pomocą elementów stylu retro glamour, czarnego humoru i ironii. W procesie percepcji filmu podjęto również próbę odkodowania obecnych w nim lejtmoty­wów, w tym symboliki lustra, sposobów teatralizacji i rytualizacji zachowań, z uwzględnieniem wybranych rozwiązań montażowych.
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REPREZENTACJE WOJNY RADZIECKO-AFGAŃSKIEJ W FILMACH ALEKSIEJA BAŁABANOWA ORAZ POWIEŚCI SWIETŁANY ALEKSIJEWICZ

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Waligórska-Olejniczak B.
Przegląd Rusycystyczny
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2018
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issue 3
PL
IMAGES OF SOVIET-AFGHAN WARIN FILMS OF ALEKSEI BALABANOV AND NOVEL OF SVETLANA ALEXIEVICHS u m m a r yThe aim of the article is the interpretation of two films directed by Aleksei Balabanov,i.e. Cargo 200 and Stoker and the novel Boys in Zinc written by Svetlana Alexievich,from the point of view of representations of Soviet-Afghan war (1979–1989),contained in them. The methodological basis of the analysis constitutes the conceptof the allegorical moment, which was worked out by Adam Lowenstein in his bookShocking Representation: Historical Trauma, National Cinema, and the ModernHorror Film. It is assumed that one of the most important rules governing the selectedworks of art is providing the viewer with the shocking image to replace andimitate the shock of the traumatic boundary experience. In this context the prose ofthe Nobel prize winner serves as a kind of voice-over, the documentary allowing us tounderstand and emphasize the meaning of Balabanov’s posttraumatic films.
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Zmysły jako dekoder rzeczywistości. Drzazga Władimira Zazubrina i malarstwo René Magritte’a

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Waligórska-Olejniczak B.
Slavica Wratislaviensia
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2014
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vol. 158
249 - 258
EN
The aim of the article is to discuss two texts of culture, i.e. Vladimir Zazubrin’s Splinter and René Magritte’s painting from the point of view of senses — in particular eyesight — which seem to rule the artistic world presented in both works of art. The text focuses not only on the analogies between fictional patterns which can be observed there, but also on stylistic means used in the works (multiplication, colour repetition, reification, etc.) as well as similar motifs and symbols. We come to the conclusion that both texts utilize tools which are associated with surrealism, revealing deep philosophical and psychological levels, therefore they cannot be categorized as the texts addressing only social and political questions.
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Rosja oczami ekscentryka, czyli Moskwa–Pie­tuszki Wieniedikta Jerofiejewa w kontekście mechanizmów reifikacji

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Waligórska-Olejniczak B.
Przegląd Rusycystyczny
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2011
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issue 4
PL
РОССИЯ ГЛАЗАМИ ЭКСЦЕНТРИКА ИЛИ МОСКВА­ПЕТУШКИ ВЕНЕДИКТА ЕРОФЕЕВА В КОНТЕКСТЕ МЕхАНИЗМОВ РЕИФИКАЦИИ Резюме Автор статьи концентрируется на анализе образа советской действительности в поэме Москва–Петушки с точки зрения отношений человек–вещь. Текст обращает внима-ние на примеры механизмов овеществления, функционирующих в художественном мире Ерофеева, которые можно связать с категориями реификации: тотализирующей, манипулятивной, эксплуатационной и неантизирующей. Особое место в дискуссии занимает исследование бинарных опозиций типа: духовое–телесное, открытое–за-крытое, определяющих как логику тоталитарного режима, так и трагизм человеческой экзистенции эпохи постмодернизма. RUSSIA THROUGH THE EYES OF AN ECCENTRIC, OR MOSCOW–PETuSHKI BY VENEDICT EROFEEV IN THE CONTEXT OF MECHANISMS OF REIFICATION Summary The article concentrates on the analysis of pathological Soviet reality represented in the lyrical poem Moscow–Petushki from the point of view of the relationship between a human being and an object. The author focuses on the mechanisms of reification utilised in the artistic world of V. Erofeev categorising them as the examples of totalizing, manipulative, practical and neantising types of the above mentioned phenomenon. The author pays particular attention to the studies of binary oppositions such as spiritual-corporeal or exposed-hidden, which define logic of the totalitarian system as well as tragism of the human existence in the era of post-modernity
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Морфий Михаила Булгакова и Морфий Щепана Твардоха. О «бытии в одиночку» сквозь призму проюлемы двойственности

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Waligórska-Olejniczak B.
Przegląd Rusycystyczny
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2015
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issue 4
PL
Morfina Michaiła Bu lhakowa i Morfina Szczepana Twardocha. O „byciu w pojedynkę” przez pryzmat problemu podwójności centralnym przedmiotem rozważań w niniejszej publikacji jest problem samotności w opowiadaniu Morfina Michaiła Bułhakowa i w powieści Morfina szczepana twar-docha. świat artystyczny w obu utworach wydaje się oparty na zasadzie zaprzeczania, prezentacji wartości poprzez emanację jej przeciwieństwa. stąd uzasadnione okazuje się skupienie refleksji nad interesującym nas zagadnieniem na problemie podwójności, przekładalnym w wybranych tekstach między innymi na metaforę lustra, kategorię sobowtóra czy dialektykę boskości i demonizmu. problem narkomanii głównego bohatera w obu utworach związany jest ściśle z kwestią samotności, stanem, na który człowiek okazuje się „skazany” w obliczu zewnętrznego zagrożenia. chwiejne poczucie bezpieczeństwa zostaje uwewnętrznione, przełożone na doświadczenie ciała, przede wszystkim jego fizjologię i stany lękowe. teksty Michaiła Bułhakowa i szczepana twardocha na powierzchniowym poziomie znacznie się różnią, wnikliwy odbiorca zauważy jednak, że wspólnym mianownikiem pozostaje dla nich niewątpliwie zasada powielenia i odbicia wykorzystana chociażby w sposobie konstrukcji bohaterów, w budowie linii fabularnej czy w symbolice. Morphine by Mikhail Bulgakov and Morphine by Szczepan Twardoch on “being single» in the context of the problem of duality the aim of the publication is to analyze the problem of loneliness in Morphine, the short story of Mikhail Bulgakov, and in the novel of szczepan twardoch under the same title. the world depicted in both texts seems to be based on the principle of negation, i.e. presentation of the value through the juxtaposition of its oppositions. consequently, the justified methodological approach is focusing on the problem of duality, which can be perceived in the selected texts as translated into the metaphor of the mirror, category of the double or dialects of the divine and the diabolic. the problem of drug addiction of the main character of both texts is directly connected with the issue of loneliness, the condition to which the human being is doomed in the face of outside threat. the unstable feeling of security may be interiorized in the experience of the body, in particular in its physiology and anxiety disorders. the texts of Mikhail Bulgakov and szczepan twardoch show many differences on their surface levels, however, the emotionally engaged reader will notice that their common ground can undoubtedly be the rule of the double reflection, which is used, among other things, to work out the character of the protagonists, the plot structure and the symbolic system.
7
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Миф Левиафанa в творчестве Андрея Звягинцева (на материале фильмa „Левиафан”)

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Waligórska-Olejniczak B.
Studia Rossica Posnaniensia
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2016
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issue 41
253-262
PL
The article focuses on an interpretation of Andrei Zvyagintsev’s film Leviathan in the context of the Leviathan myth. The film was inspired by the Book of Job and the philosophical treatise called Leviathan or The Matter, Form and Power of a Common Wealth Ecclesiasticall and Civil written by Thomas Hobbes in 17th century. The article starts with an explanation of the possible meanings of the symbol of Leviathan in various cultural and historical traditions, including the Bible and Hobbes’s book. The background is then expanded further in the interpretation of selected shots from the film, which show that the artistic text of the Russian director can be perceived as a universal parable of human life.
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Pulp Fiction jako encyklopedia pop kultury. Nieustanna filmowa prowokacja Quentina Tarantino w kontekście poetyki komiksu

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Waligórska-Olejniczak B.
Scripta Neophilologica Posnaniensia
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2011
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issue 11
197-208
PL
Pulp Fiction jako encyklopedia pop kultury. Nieustanna filmowa prowokacja Quentina Tarantino w kontekście poetyki komiksu
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Nostalgiczne kino Wiery Storożewej i Pawła Łungina (na podstawie filmów Podróż ze zwierzętami domowymi i Taxi Blues)

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Waligórska-Olejniczak B.
Studia Rossica Posnaniensia
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2019
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vol. 44
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issue 2
159-168
PL
The article presents the interpretation of two Russian films, Travelling with Pets by Vera Storozheva and Taxi Blues by Pavel Lungin, from the point of view of the category of nostalgia. The article shows that the heroes of both artistic texts function in the hybrid reality, the collapse of the old world accompanies their search for the wholeness and new identity. Travelling with Pets emphasizes the spatial dimension of the experience, whereas Taxi Blues transforms it into the vision of the relationship with time, the continuum of past, present and future, which corresponds with the triad: history-memory-nostalgia.
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И. Тургенев как протомодернист. Пьеса „Месяц в деревне” в контексте цикла эссе К. Гринберга „Защита модернизма”. Предвестие нового художественного стиля

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Waligórska-Olejniczak B.
Studia Rossica Posnaniensia
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2011
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issue 36
269-276
EN
Clement Greenberg is considered as one of the greatest and most influential American critics of the late 20th century. Understanding modern and postmodern discussions in the world of literature and fine arts seems to be impossible without the profound knowledge of Greenberg's opinions. The aim of the studies in this article is the comparative analysis of I. Turgenev's drama A Month in the Country and fundamental principles of Greenberg's theory of modernism, the attempt to generate the inner relationships between those two works of art. Treating the aforementioned drama as the model piece of Turgenev's dramaturgy we focus on the parametres which build up the openness of the play, emphasise the innovative character of the text in the context of the changes of the Great Theatre Reform. The interpretation of Turgenev's play in the view of global artistic tendencies shows the uniqueness of his work of art. The comparative method of the analysis helps to discover the encoded features which will influence modernist way of thinking, eliminating the differences between the word and other ways of artistic expression.
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Eksces i tragizm: „Noc Walpurgii, czyli Kroki Komandora” Wieniedikta Jerofiejewa

100%
Waligórska-Olejniczak B.
Studia Rossica Posnaniensia
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2014
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issue 39
349-356
PL
The article presents Venedikt Erofeev’s Walpurgisnacht, or the Steps of theCommander in the context of European transavantgarde, American art (e.g. Andy Warhol’s traumatic realism) and the vital literary concepts of the end of the 20th century. The category of shock is here regarded as a postmodern equivalent of the ancient notion of catharsis. The focus of the artistic reality in Erofeev’s text seems to be on the tragic conflict between life and death and on being in transition, which reveals the real purpose of human existence.
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Andrey Zvyagintsev’s Loveless as the remediation of Mikhail Bulgakov’s The heart of a dog. Towards the question of cultural memory

100%
Waligórska-Olejniczak B.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 30
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issue 39
183-199
EN
The article aims to examine the relationship between two texts: Loveless (Нелюбовь, 2017), the latest of Andrey Zvyagintsev’s feature films, and The Heart of a Dog (Собачье сердце, 1925), one of Mikhail Bulgakov’s most popular short stories. The studies are focused on finding the parallels showing the work of cultural memory, which is understood – following Aleida Assmann’s and Astrid Erll’s findings – as the process of continuous remediation, retranscription and negotiation of essential ideas in the space of culture. Consequently, the author is not interested in treating Zvyagintsev’s text as the illustration of Bulgakov’s plot, but rather in discussing certain topics which are deposited in Russian literature and constantly reused and reinterpreted, creating the framework for communication across ‘the abyss of time’. The analogies between the selected texts are sought in the area of their structure, some thematic overlapping, the authors’ approach to the issue of the authoritarian ideology and the role of technology as well as in exploring the function of space as one of the narrative mechanisms, in particular in the context of the category of home and anti-home.
13
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Following Brodsky. Andrey Zvyagintsev’s Apocrypha

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Waligórska-Olejniczak B.
Studia Rossica Posnaniensia
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2021
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vol. 46
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issue 1
235-251
EN
The article presents the study of the short film Apocrypha by Andrei Zvyagintsev. The text is aimed at the interpretation of the movie in the context of the problem of memory, which is emphasised in the selected work in the explicit and implicit visual associations with the figure and poetry of Iosif Brodsky. The recognition of these characteristic elements in the structure of Zvyagintsev’s film has the influence on the perception of its meaning, leading the culturally aware recipient towards discovering its broad interpretative potential in view of the Russian literary tradition. The study is conducted using the comparative method of analysis. The core theory which constitutes the methodological foundation of the study is Astrid Erll’s concept of cultural memory expounded as intertextuality, i.e. the continuous building up of layers of texts, which are mediated, as well as her idea of transcultural memory, defined in the first instance as a process of fluctuation between the individual and collective level of remembering. Attention is turned to the motifs, which are characteristic both for Brodsky’s and Zvyagintsev’s poetics, such as the aquatic symbolism, temporal and topographical relationships, chromatography of cold colours etc. The application of the selected methodology in the presented discussion allows for exposing the dynamics of the changing nature of culture, which becomes the container of the social and territorial fluctuations of memory.
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Agnieszka Matusiak, Wyjść z milczenia. Dekolonialne zmagania kultury i literatury ukraińskiej XXI wieku z traumą posttotalitarną, KEW, Wojnowice–Wrocław 2018

100%
Waligórska-Olejniczak B.
Rusycystyczne Studia Literaturoznawcze
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2020
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vol. 30
191-195
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ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY

100%
Waligórska-Olejniczak B.
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2019
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vol. 24
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issue 1
85-94
EN
LAND OF OBLIVION (LA TERRE OUTRAGÉE, 2012)BY MICHALE BOGANIM AS A POSTTRAUMATIC FILM. “PORÓWNANIA” 1 (24), 2019. Vol.XXIV, P. 85-94. ISSN 1733-165X. The aim of the article is the analysis of Michale Boganim’s film Land of Oblivion from the point of view of contemporary trauma and memory studies. Taking advantage of the scientific notions worked out in the field of those studies, it is stated that the work can be regarded as a posttraumatic film first of all on account of its core problem, which is the Chernobyl disaster and its consequences shown through the prism of the milieu. Boganim encodes the trauma of the witness in the body and mind of the human being who is not able to work through it. Badly located nostalgia, melancholy and kinetic hyperactivity function in the film as signs which allow the audience to take part in the tragedy of the characters, a kind of repetitive code motivating the reflection on the mechanisms of remembering and forgetting.
PL
Beata Waligórska-Olejniczak, ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY. „PORÓWNANIA” 1 (24), 2019. T. XXIV, S. 85-94. ISSN 1733-165X. Celem artykułu jest analiza filmu Znieważona ziemia Michale Boganim z punktu widzenia współczesnych badań nad traumą i studiów nad pamięcią. Wykorzystując aparat pojęciowy, funkcjonujący w obszarze tych badań, zauważono, że film Znieważona ziemia mieści się w kategorii filmu posttraumatycznego nie tylko ze względu na centralny dla niego temat czarnobylskiej katastrofy i jej następstw, które widz ma okazję obserwować głównie przez pryzmat milieu. Boganim umiejscawia traumę świadka przede wszystkim w niezdolnym do jej przepracowania ciele i psychice człowieka. Źle ulokowana nostalgia, melancholia, kinetyczna nadpobudliwość funkcjonują w filmie jako znaki, pozwalające widzowi współodczuwać tragedię bohaterów, rodzaj powtarzalnego kodu, zmuszającego do refleksji nad mechanizmami pamięci i zapominania.
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O FENOMENIE I MITOLOGII ODESSY NA PRZESTRZENI WIEKÓW. RECENZJA MONOGRAFII ODESSA W LITERATURACH SŁOWIAŃSKICH. STUDIA

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Waligórska-Olejniczak B.
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2019
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vol. 24
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issue 1
319-322
EN
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O MITACH I OBRAZACH KOBIECOŚCI W PROZIE SWIETŁANY ALEKSIJEWICZ

100%
Waligórska-Olejniczak B.
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2017
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vol. 20
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issue 1
97-105
EN
The aim of the article is the interpretation of Svetlana Alexievich’s prose focused, first of all, on women’s characters. They are discussed, among other things, from the point of view of the feminine myth which constitutes the basis of the Russian culture. The examination of the collections of reportages War does not have a woman’s face, Chernobyl prayer and Second-hand time. The last of the Soviets allowed us to turn the attention to the motivation and images of female characters of the aforementioned texts. On the one hand, the stories of contemporary women, recorded by the Nobel prize winner, confirm the stereotypical perception of Soviet women in the society, on the other, however, they help us to discover the features which are common for those images and very often enrooted in Slavic mythology and Christianity. The text also gives insight into the poetics of Alexievich’s works and constitutes an attempt at looking at the documentary character of her prose through the problem of the myth.
PL
Celem artykułu jest interpretacja prozy Swietłany Aleksijewicz ukierunkowana przede wszystkim na ogląd postaci kobiecych, dokonywany między innymi przez pryzmat mitu matki, leżącego u podstaw kultury rosyjskiej. Na podstawie zbiorów reportaży Wojna nie ma w sobie nic z kobiety, Czarnobylska modlitwa. Kronika przyszłości oraz Czasy second-hand. Koniec czerwonego człowieka zwrócono uwagę na motywację przedstawianych przez autorkę postaw i wizerunków bohaterek wspomnianych utworów. Historie współczesnych kobiet, utrwalone przez laureatkę Nagrody Nobla, z jednej strony stanowią materiał egzemplifikujący stereotypowe widzenie kobiety radzieckiej w społeczeństwie, z drugiej zaś służą wykryciu cech spajających te obrazy, nierzadko zakorzenionych w mitologii słowiańskiej i chrześcijaństwie. Tekst prezentuje również analizę poetyki pisarstwa Aleksijewicz, stanowi próbę wskazania na dokumentacyjny charakter tej prozy jako nośnika mitu.
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Słowo wstępne

63%
Waligórska-Olejniczak B., Chałacińska H.
Scripta Neophilologica Posnaniensia
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2012
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issue 12
5-15
PL
Słowo wstępne
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