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Trivialität im neusachlichen Gewand. Einige Bemerkungen zu Hans Falladas Kleiner Mann, Großer Mann

100%
Brylla W.
Germanica Wratislaviensia
|
2015
|
vol. 140
41 - 59
EN
Hans Fallada’s novel Kleiner Mann, großer Mann (1941) is in principle regarded as a trivial novel and it is for this reason that it has very seldom aroused interest among the literati. Yet, Fallada himself at one time called his texts written in the Nazi Germany a kind of entertaining or popular literature. However, with the careful analysis of Kleiner Mann, großer Mann one should state that the novel about the offcial Max Schreyvogel, at least with respect to the narration, does not come under the criterion of triviality. The somewhat trashy story (histoire albo narrative) is being told with the new objective (new objectivity), realistic means (discourse) which are in cotrast to the banality of the main topic.
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67%
Olek J.
Architectus
|
2019
|
issue 3(59)
127-141
PL
Tematem artykułu jest kwestia tego, w jaki sposób znani fotografowie przedstawiają architekturę modernizmu. Autor omówił w nim różne postawy i wizualizacje, z jakimi spotkać się można na wystawach prezentujących obiekty, które powstały w latach 20. i 30. minionego stulecia. Nie chodzi o klasyczną dokumentację, lecz o kreowanie obrazów, którym odrębny charakter nadaje indywidualnie rozumiana minimalistyczna forma. Autor przypomniał, jak owa forma kształtowała się w Bauhausie i konstruktywizmie, oraz jak – jeszcze na inny sposób – kreowali ją twórcy związani z ideologią Nowej Rzeczowości. I na tym tle ukazał przykłady rozwiązań najnowszych.
EN
This article is aiming to investigate how well-known photographers portray the architecture of modernism. The author discusses different attitudes and visualizations, which can be found at exhibitions presenting objects created in the 1920s and 1930s. The author is not interested in classical documentation but in creative photography, in images whose character springs from their individually understood minimalist form. Going back in time, he shows how this form was born in Bauhaus and Constructivism, and how, differently, it was used by artists associated with the Neue Sachlichkeit. Against this background, he shows examples of the latest approaches.
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