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Odejście pierrotów. Siegfried Kracauer i moc przypadku

100%
Charewicz-Jakubowska K.
Przegląd Kulturoznawczy
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2011
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issue 2(10)
41-48
EN
The text is a short commentary to the Polish translations of selected Weimar essays written by Siegfried Kracauer in the 1920s and 1930s. The analysis of popular culture undertaken by the Frankfurter is based on particular examples – ‘cases’ picked out from the life of the urban tissue – and at the same time it represents a bright assessment of the present social and cultural changes. An example of such careful observations with a punch line aimed at different current conditions are among others the texts commenting on circus events – including performances of the famous Fratellini group. In his analysis and commentaries Kracauer shows the emancipatory nature of the popular culture and at the same time determines the direction for further research carried out against a clear division between elite and egalitarian content and groups of recipients.
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Sozialpsychologische Parallele zwischen dem Filmstoff und dem Nationalsozialismus in Von Caligari zu Hitler von Siegfried Kracauer

71%
Tomczuk D.
Annales Neophilologiarum
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2013
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issue 7
183-192
EN
The article refers not only to the writings of Siegfried Kracauer, a G erman essayist, film and art theorist, philosopher and prose writer, but also, and even in particular, to his monumental essay entitled From Caligari to Hitler. A Psychological History of the German Film. The most important issue he was interested in was the problem of different types of mentality and their psycho-social predisposition with particular reference to national socialism. Viewing the film as the picture of mentality of the nation, Kracauer describes the story of early German cinema taking into account not only Hitler and his later coming to power but also showing “inner predispositon of the nation”, which had an influence on the course of history. The autor especially studies psycho-social analogies between development of national socialism in G ermany and a famous film of Robert Wiene of 1920, enitled The Cabinet of Dr. Caligari, which is considered to be not only a leading example of expressionism in G erman cinema, but also one of the milestones in the film history of the world.
PL
Artykuł dotyczy twórczości Siegfrieda Kracauera (1889-1966) – niemieckiego eseisty, teoretyka filmu i sztuki, filozofa i prozaika, a zwłaszcza jego monumentalnego eseju Od Caligariego do Hitlera. Psyychologiczna historia filmu niemieckiego. Istotnym przedmiotem zainteresowań Kracauera był problem typów mentalności i ich psychospołecznych dyspozycji ze szczególnym odniesieniem do narodowego socjalizmu. Traktując film jako odbicie mentalności narodu (gdyż nie stanowi on nigdy dzieła jednostki, lecz jest efektem pracy kolektywu), Kracauer omawia historię początków kina niemieckiego pod kątem późniejszego dojścia do władzy przez Hitlera, ukazując „wewnętrzną dyspozycję” narodu, mającą wpływ na bieg historii. Analizie poddane zostają zwłaszcza psychospołeczne analogie między rozwojem narodowego socjalizmu w Niemczech a znanym filmem Roberta Wiene z roku 1920 Gabinet Dr. Caligari, uznawanym nie tylko za sztandarowy przykład ekspresjonizmu w kinie niemieckim, ale i za jeden z kamieni milowych w historii światowego kina.
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„Herbarium czystych zewnętrzności”: Siegfried Kracauer, Busby Berkeley, Sherrie Levine

51%
Majewski T., Rejniak Majewska – A.
Estetyka i Krytyka
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2009
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issue 15-16
64-87
EN
For Kracauer, the regular abstract patterns viewed in the gymnastic stadiums and in the musical revues presented an analogy with modern life and technological Ratio. Ornament is a place of their meeting and mutual transformation, and thus the crucial point, which decides the future of the modernity project. Busby Berkeley’s choreography during the New Deal period is an extension of this phenomenon. In Gold Diggers of 1933 and Footlight Parade aesthetics of Fordism intercrosses with the Pythagorean and Renaissance Neo-platonic vision of an orderly and purposive cosmos, in which Eros is a kind of coordinating and organizing force (both in a cosmological and social way). Sherrie Levine’s work, which is a postmodern appropriation of Berkeley’s trademark, follows a similar method to undermine the distinction between individual creativity and well-regulated collective, between modern art and industrial production.
4
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The Edges of the World: Diasporic Metaphysics of Bruno Schulz

51%
Bielik-Robson A.
Eidos. A Journal for Philosophy of Culture
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2022
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vol. 6
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issue 1
49-64
EN
This essay is a theologico-philosophical meditation on Bruno Schulz, focusing on his “love for the marginal”: a special attention paid to tandeta, in other words all things trashy, located on the eponymous edges of the world, far away from the center. Contrary to the assumed mode of interpretation, which reads Schulz’s fascination with the “dark forces of life” in terms of the depth subversive toward the surface, I propose a different scheme: an opposition of center and edges/margins, deriving from the Kabbalistic metaphysics of Isaac Luria, which constituted the primary matrix of the Hasidic Kabbalah, known to Schulz as the member of the pre-war Drohobycz Jewry. I then juxtapose Schulz’s intuition of a life thriving on the cosmological margins with Freud’s early theory of the drives, especially his concept of perversion as a “libido on the edge.” In both writers we find a similar echo of the spatial Kabbalistic imagining of the relation between the emptied center and the rich diaspora of life, dispersing and multiplying on the fringes of the “cosmic exile.”
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