Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  KONWICKI TADEUSZ
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Tadeusz Konwicki's 'Salto' as Film Adaptation of His Writing Method

100%
Kaniecki P.
Kwartalnik Filmowy
|
2007
|
issue 59
113-146
EN
The authort argues in his essay that 'Salto' heralds the most mature stage of Konwicki's creative activity in which the correspondence of the components of his various works is based on the principle of complementing or self-interpretation and not - as in the case of 'Salto' - on the principle of polemical dialogue. The writer-turned-director's third film is a self-polemical dialogue towards 'A Dreambook for Our Time'. As Konwicki says he had elevated himself too much in the book, so he made the film to dissociate himself from himself. The novel-film relationship is built not only by numerous fictional parallels but also by the structure of the represented world. In Salto Konwicki drew on the poetics supported by means of expression that constituted the cinematic equivalent of his writing technique. The author focuses on the analogies between formal elements of the two works, which build the category of unreality and conventionality of the represented world and the status of the narrator-protagonist.
2

Relatives From Lithuania. Adaptation is Born out of the Spirit of Togetherness

63%
Lubelski T.
Kwartalnik Filmowy
|
2007
|
issue 59
147-172
EN
To Tadeusz Konwicki, the relationship between the author of a literary text and the author of a film based on the text consists in the 'Platonic community of interests'. 'Here the adaptor uses a classic text not because he has to or has received a commission to adapt it but because it's the text he feels particularly attached to and because in it he finds the elements of what he himself would like to put into the original'. The author analyses Konwicki's creative activity from the point of view of the latter's love affair with adaptation, and focuses primarily on 'The Issa Valley', based on Czeslaw Milosz's novel, and 'Lava', based on Adam Mickiewicz's 'The Forefathers' Eve'. Spiritual affinity between Konwicki, Mickiewicz and Milosz is the key to understanding of his adaptation strategy. The three had roots in the culture of eastern borderland while the Vilnius region was their point of reference. When translating the language of poets into a cinematic medium, Konwicki wanted to share his own 'testimony of reading' which was very private, intimate and offered by the fellow artist. The 'comradeship' appeared to derive from the metaphorical understanding of Lithuanian kinship that is becoming a state of mind, of memory and identity.
3

FROM ABOVE MISS HELENA'S MANOR TO AT THE FRONT OF THE POET'S HOUSE. THE CATEGORY OF NARRATION AND THE AUTHOR'S PRESENCE IN KONWICKI'S 'LAVA' AND 'BOHIN MANOR') (Polish title below)

51%
Kaniecki P.
Kwartalnik Filmowy
|
2011
|
issue 73
147-162
EN
(Polish title: Znad dworu panny Heleny przed dom Poety. Kategoria narracji a obecnosc autora w 'Lawie' oraz 'Bohini' Konwickiego). The text shows how similar is the narration of 'Lava', Konwicki's film adaptation of Mickiewicz's 'Forefathers' Eve', to the narration of Bohin Manor, a novel which was written just before 'Lava', and how similar is the autobiographic category in these two works (both of them are parabolas), but yet how different is the author's presence in them. In 'Bohin Manor', the narrator of the story is identified straightforwardly with Konwicki's 'I', as a figure of syllepsis (Ryszard Nycz's term for such narrator); in Lava, the Poet, who is the narrator in the film, is presented simultaneously as both Mickiewicz and Konwicki.
4

DANGEROUS LIAISONS OR TADEUSZ KONWICKI'S ROMANCE WITH WITOLD GOMBROWICZ

44%
Bielecki M.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 3
75-92
EN
The article is devoted to an analysis of intertextual and ideological connections in the artistic works by Tadeusz Konwicki and Witold Gombrowicz. Though frequently mentioned, 'Ferdydurke' author's influence on Konwicki has never been fully described, and cannot be closed with a simple forefather's impact on his follower. The author of 'A Minor Apocalypse' willingly reads Gombrowicz, and often comments, especially in sylvic texts (paratexts), on Gombrowicz as a figure and his texts, though seldom in an explicitly allegative tone. Konwicki can be assumed to have borrowed Gombrowicz's sylvic poetics in 'Calendar and Hourglass' and later in 'mendacious diaries'. Konwicki's prose pieces cannot support to the idea of the writers' relationships, the exception being probably 'Rojsty' (though here an indirect relationship within the frame of 'prose of intellectual settlements' could be considered). Konwicki's view on the world and on a man can on no ground agree with Gombrowicz's anthropology.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.