Search results

1

Stalkerzy vs Nocni Łowcy. Wizje męskości w uniwersach fantastycznych dla młodych mężczyzn i kobiet w Polsce

100%

Gołuński M.

Śląskie Studia Polonistyczne

|

2020

|

vol. 15

|

issue 1

EN

The presented analysis juxtaposes a half-peripheral, essentially dystopian masculinity depicted in a Polish fantasy universe (including over 30 volumes by Polish and Russian authors of both genders) and a projected (utopian?) masculinity at the heart of another universe, most of all addressed to girls. Visions of masculinity presented in both the universes are the bases of comparative analysis conducted in the article. The differences between the considered warriors are made conspicuous within a few spheres of their relations and actions, from their purity and body care, to their attitudes to women and erotic relationships they engage in. What concludes the article is the analysis of the protagonists’ and narrators reactions to non-heteronormative behaviours (trace amounts of which appear in the world of the Factory Zone [Polish: Fabryczna Zona] novels, yet feature opulently and overtly in Shadowhunters).

2

Kategoryzowanie, tworzenie domu oraz sprawczość poprzez brak działania w ośrodku pobytowym dla cudzoziemców

85%

Kluszczyńska M.

Barbarzyńca. Pismo Antropologiczne

|

2018

|

issue 23

48-61

EN

The article analyses the residence centre for foreigners, the place of waiting for the decision regarding asylum status, paying attention to how is the institution interpreted by different actors. For the staff of the centre, it is a home for the people who live in. For the residents (women and their children) the home can be, at the most, a room in which they reside. The imposing of the notion of home, over-institutionalization and attempts of pre-integration, which exists also as a kind of help and support for inhabitants, above all, consist in disciplining to cleanliness and upbringing (for both women and their children). The author allocates the centre in the way as it is understood by the people who act in it, in the theoretical framework of the discussion on the concept of home (from the theory of Yi-Fu Tuan, through Gillian Rose’s and Wenona Ride’s conceptualization), emphasizing the gender role visible in semi-forced, semi-voluntary duties in cleaning. This perspective indicates a key feature of agency for the people who live in the centre by the refusal of forced action. Act of refusal of the imposed domestic atmosphere by some of the residents, along with the dirt, which, as Mary Douglas said, is culturally constructed “by product of a systematic ordering and classification of matter”, are the basis of arising and persistence of national stereotypes: dirty Chechen Women, clean Ukrainian women.

3

„Mój świat wypełnia ogień i krew” – Mad Max: Na drodze gniewu i semantyczne gry z postapokaliptycznym brudem

71%

Kowalczyk M.

Kwartalnik Filmowy

|

2021

|

issue 114 Zanieczyszczenie, brud, skaza

164-178

PL

Założenia gatunkowe kina postapokaliptycznego wymuszają określoną estetykę, której dominantę często stanowi brud. Element ten jest zwykle przeciwstawiony domniemanej czystości świata przed katastrofą. Przykładem realizacji tej strategii jest film Mad Max: Na drodze gniewu (Mad Max: Fury Road, reż. George Miller, 2015). Autor wskazuje wszakże, że dzieło Millera ujawnia ciekawą ambiwalencję: sugerując prawomocność typowej dla gatunku opozycji brud-czystość, jednocześnie ją unieważnia. W omawianym filmie można bowiem dostrzec trzy różne systemy znaczeniowe ufundowane na tych kategoriach. Pierwszy jest konsekwencją przyjęcia konwencji gatunkowej, a dwa następne wynikają z oryginalnego spojrzenia autorskiego i stanowią udaną próbę przezwyciężenia typowych znaczeniowych uwikłań elementów świata postapokaliptycznego. W artykule zostały wykorzystane m.in. elementy semiotycznej analizy filmu zaproponowanej przez Rolanda Barthesa, a także ustalenia Mary Douglas dotyczące kategorii brudu i czystości w kulturze.

EN

The genre conventions of the post-apocalyptic cinema enforce a specific aesthetics, and its visual dominant is often dirt. This element is usually contrasted with the alleged purity of the world before a catastrophe. Mad Max: Fury Road (dir. George Miller, 2015) seems to be an example of this strategy. However, the article shows that Miller’s work reveals an interesting ambivalence: suggesting the legitimacy of the dirt-purity opposition typical of the genre, the film simultaneously undermines it. Therefore, in Mad Max: Fury Road we can see three different systems of meaning based on these categories. The first one is a consequence of the genre convention, the next two show the original author’s vision and represent a successful artistic attempt to overcome the typical perception of some features of the post-apocalyptic world. The article uses elements of Roland Barthes’s semiotic analysis of film, as well as Mary Douglas’s findings on the category of dirt and purity in culture.

4

The urban river in Dickens, Dostoevsky and Prus

57%

Budrewicz A.

Prace Filologiczne. Literaturoznawstwo

|

2015

|

issue 5(8)

407-425

EN

The article offers a comparative analysis of the literary presentations of three rivers (the Thames in London, the Neva in Petersburg, and the Wisła in Warsaw) in the following novels: Charles Dickens’s Our Mutual Friend, Fyodor Dostoevsky’s Crime and Punishment, and Bolesław Prus’s The Doll. The author discusses the presentations of these rivers and the ways the writers engaged river imagery with the cities. The rivers played crucial roles in shaping the plot and in the characterisation of the protagonists. The Thames serves a crucial part in Our Mutual Friend: it offers safety to some characters, but it is also a deadly power to others. The Neva and the Wisła are related to self-exploration of the main characters who find it necessary to wander around the river banks; it is near the river bank when they undergo an internal transformation (Raskolnikov) or reflect upon humanity (Wokulski).

5

Freeganin w kłopotach. Aksjologiczny stosunek do brudu i pożywienia

57%

Pelska A.

Internetowy Magazyn Filozoficzny Hybris

|

2022

|

vol. 57

|

issue 2

24-48

EN

This article is based on ethnographic research conducted among freegans in 2021. It explores issues of valuation linked to the cultural categories of food and dirt, which come together in a surprising way in the phenomenon of freeganism. The main questions addressed in the article are: why does the practice of freeganism arouse social controversy and even disgust? How do the participants of the movement deal with this confusion of axiologies - of dirt and food - that blatantly disrupts the cultural order? Using Mary Douglas'es structuralist theory of dirt (drawn primarily from her book Purity and Danger) and my field material, I also demonstrate the connections between freegan ethics, the phenomenon of wastefulness and the status of trash in culture, which freegans often consider to be arbitrarily and unjustifiably assigned.

PL

Niniejszy artykuł opiera się na badaniach etnograficznych przeprowadzonych w środowisku freegan w 2021 roku. Porusza kwestie wartościowania związanego z kulturowymi kategoriami pożywienia i brudu, które w zaskakujący sposób łączą się ze sobą w zjawisku freeganizmu. Główne pytania stawiane w artykule to: dlaczego podejmowane w ramach freeganizmu praktyki budzą społeczne kontrowersje, a nawet obrzydzenie? Jak uczestnicy ruchu radzą sobie z aksjologicznym pomieszaniem brudu i jedzenia, które rażąco narusza porządek kulturowy? Posługując się teorią brudu Mary Douglas (wyłożoną głównie w książce Czystość i zmaza) i moimi materiałami terenowymi, prezentuję powiązania między freegańską etyką, zjawiskiem marnotrawstwa oraz statusu śmiecia w kulturze, który freeganie często uznają za przydzielony arbitralnie i bezpodstawnie.

6

Brud jako metafora w twórczości Brunona Schulza

50%

Jarnotowska M.

Prace Polonistyczne

|

2014

|

vol. 69

117-128

EN

The study describes anthropological and philosophical aspects of dirt as a metaphor. The author interprets the motif in the context of hygiene rhetoric (crystal palace, cleansing the society of unnecessary elements, dirt as a form of revolt, dirt as stigma etc.). Based on the example of Dwugłos o Schulzu by Kazimierz Wyka and Stefan Napierski she analyzes the meaning of metaphors and axiologically characterized pictures, favouring the analogy: if it is dirty, it is immoral. The author is interested in the idea of cleanliness and dirt as understood and pictured by the authors of the interwar period. It is these notions that literary critics of the named period refer to while formulating allegations towards Schulz’s works. The author presents dirt as a historically and culturally variable category, which was influenced by the development of medicine, cosmetic industry and advertising. She confronts Schulz’s modern guardian of order — Adela, with Jacob, an eccentric who introduces chaos and impropriety. The author is trying to grasp these metaphors and pictures due to which dirt in Schulz’s world stands for a creative potential.

Refine search results

1 Barbarzyńca. Pismo Antropologiczne

1 Internetowy Magazyn Filozoficzny Hybris

1 Kwartalnik Filmowy

1 Prace Filologiczne. Literaturoznawstwo

1 Prace Polonistyczne

1 Śląskie Studia Polonistyczne

1 Budrewicz A.

1 Gołuński M.

1 Jarnotowska M.

1 Kluszczyńska M.

1 Kowalczyk M.

1 Pelska A.

1 2022

1 2021

1 2020

1 2018