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Dylematy kształcenia polonistycznego, czyli czego nas uczą pierwsze lata reformy

100%
Janus‑Sitarz A.
Z Teorii i Praktyki Dydaktycznej Języka Polskiego
|
2020
|
vol. 29
175-186
EN
The review article describes the effects of the hastily implemented reform of school education. Its effects were monitored by researchers whose observations appeared in the volume Dilemmas of Polish Studies in the reformed primary school edited by Zofia Budrewicz and Danuta Łazarska, published as part of the Annales Universitatis Paedagogicae Cracovienesis. Authors from many academic centres address the topics of overcrowded high schools (the socalled effect of the double year), students overloaded with learning, return of rote learning, as well as the process of full centralisation in education management (no teachers’ participation in preparing reforms), or politicised programme changes and haste. The volume contains many texts that critically analyse the new core curriculum in the field of Polish language education. Repeated allegations include: anachronism, lack of autonomy in the choice of texts, deprivation of references to modern times, dominance of theoretical terminology, marginalisation of communication practice, etc. In addition, some of the dissertations contained in the publication are based on empirical research and examples of so-called good educational practices.
2
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Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

99%
Hernández Navarro M. Á.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
98-113
EN
Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality.
3
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Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

99%
Hernández Navarro M. Á.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
98-113
EN
Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality.
4
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Disappearing Objects in Georges Didi‑Huberman’s Curatorial Practices

85%
Doroszuk H.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
|
2018
|
vol. 13
56-65
EN
In this essay, I undertake an analysis of the first exhibition curated by Didi‑ Huberman, L’Empreinte (Imprint), which took place in Centre Pompidou in 1997. In this project, the French philosopher and art historian intentionally bypassed the usual products of artmaking, instead choosing to focus on what is left alongside this process. The project in Centre Pompidou transferred the technique of imprinting into the context of art of the 20th-century, investigating the tactile transmission of form from one surface to another. I will examine how Didi‑ Huberman’s attempt was influenced by the notion of survivance of forms, formulated by Aby Warburg, and how it offers an alternative to traditional approaches to original/ copy issue.
5
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Montaż nowoczesności. Wystawa „Atlas nowoczesności” wobec wybranych wątków filozofii historii sztuki

71%
Jóźwiak K.
Internetowy Magazyn Filozoficzny Hybris
|
2016
|
vol. 32
|
issue 1
19-35
EN
In this article I examine the notion of “montage” in the contexts of both Muzeum Sztuki exhibition “Atlas of Modernity” and contemporary trends in aesthetics. In the exhibition folder there appears the word “montage” which describes a specific methodology of the exhibition. The way “montage” is being used metaphorically in the discourse of aesthetics is by no means new. Thus I decided to dig into the roots of the usage of this notion, which goes back to the beginning of 20th century when Aby Warburg established a new methodology in the visual studies, Walter Benjamin elaborated on his literary montage, and Sergey Eisenstein contributed to general theory of montage. Nevertheless, the very central figure is contemporary theorist Georges Didi-Huberman and his original reading of the above mentioned thinkers. Thus, using this constellation of names, I try to examine, how the notion deriving from cinematography happened to play such an important role in contemporary aesthetics.
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