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Georges Didi-Huberman, Kora, Otto Dov Kulka, Pejzaże metropolii śmierci – jako eseje lagrowe? Wyobraźnia i pamięć formuł tytułowych wobec formuły anus mundi

100%
Kuczyńska-Koschany K.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2018
|
vol. 47
|
issue 1
121-133
EN
The article is an attempt at interpretation of two essays, which may be called „lager” essays. These are Bark written by G. Didi-Huberman and Landscapes of the Metropolis of Death written by O.D. Kulka, their books are deeply related as the negation or at least as the questioning of the title of autobiographical book Anus mundi written by W. Kielar. Both authors do not describe Nazi concentration camp as „the anus of the world”. Their imagination is a post-imagination, their memory is a post-memory. In her paper Kuczyńska-Koschany considers the condition of the essay as quasi-genre after the Holocaust, after the genocide and in reference to the experience of a lager.
2
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Georges Didi-Huberman, Écorces, and Otto Dov Kulka, Landscapes of the Metropolis of Death – as Lager essays? Imagination and remembrance of the title formulations in relation to the formulation “anus mundi”

100%
Kuczyńska-Koschany K.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2017
|
vol. 46
|
issue 8
231-241
EN
The article is an attempt at interpretation of two essays, which may be called „Lager” essays. These are Écorces written by G. Didi-Huberman and Landscapes of the Metropolis of Death written by O.D. Kulka, their books are deeply related as the negation or at least as the questioning of the title of autobiographical book Anus mundi written by W. Kielar. Both authors do not describe Nazi concentration camp as „the anus of the world”. Their imagination is a post-imagination, their memory is a post-memory. In her paper Kuczyńska-Koschany considers the condition of the essay as quasi-genre after the Holocaust, after the genocide and in reference to the experience of a Lager.
3

Pasażerka. Obraz wyrwany z błota

94%
Cichoń A.
Kwartalnik Filmowy
|
2021
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issue 114 Zanieczyszczenie, brud, skaza
88-103
PL
W 50. rocznicę premiery Pasażerki Andrzeja Munka, Tadeusz Lubelski stwierdził, że dla Je-an-Luc Godarda był to najlepszy film o wojnie jaki kiedykolwiek nakręcono. Mimo że trudno znaleźć potwierdzenie tych słów w źródłach, autor postanawia podjąć ową tezę i odpowie-dzieć na pytanie, dlaczego Pasażerka mogłaby zyskać taki status. Tym samym stara się wy-konać pracę wyobraźni, którą Georges Didi-Huberman zalecał jako metodę pozwalającą „mi-mo wszystko” mierzyć się z „niewyobrażalnym”. Jej założenia, a także te właściwe Benjami-nowskiemu materializmowi historycznemu, zostają w niniejszym artykule użyte do przemy-ślenia metod montażowych, które zastosowano w Pasażerce. Jest to bowiem wyjątkowy przykład filmu dokończonego po śmierci jego reżysera. Sposób jego zmontowania pozwala podjąć namysł nad traumą, a jednocześnie daje niezwykłe świadectwo obrazu wydobytego z błota „niewyobrażanego”.
EN
At the fiftieth anniversary of the premiere of Andrzej Munk’s Passenger, Tadeusz Lubelski said that for Jean-Luc Godard, this was the best war film ever directed. Although it would be difficult to find documents confirming these words, the author of the article decided to re-think this statement and answer the question why Passenger could be considered as the best war film. In so doing, the author attempts to perform the “work of imagination” which Didi-Huberman proposed as a method of fight against “the unimaginable”, a fight which is always undertaken “in spite of all”. In this article, the premises of Didi-Huberman’s method and Ben-jamin’s historical materialism are used to rethink montage in Passenger. This work is a unique example of a film finished after the death of its author. The unusual montage used in Passen-ger invites reflection about the trauma of image. At the same time, it is an exceptional testi-mony of image extracted from the mud of “the unimaginable”, an image saved from oblivion.
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