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«Ja do radia wejdę»: Radiowe realizacje Marii Wiercińskiej w latach 1946–1952

100%
Flader-Rzeszowska K.
Pamiętnik Teatralny
|
2020
|
issue 3(275)
133-150
EN
This article is devoted to Maria Wiercińska’s work from 1946–1952, when the theatre actress and director focused on radio, first in Łódź and then in Wrocław. It presents the results of research based on Wiercińska’s manuscript listing her radio works of that time and on the script of her radio play Niebezpieczne życie (Dangerous Life, written and first broadcast in 1935 under the direction of Michał Melina), which has not been analysed or published to date. The extant script dates from 1946, when Wiercińska directed the radio play herself (broadcast in 1947). Thanks to the author’s notes and edits, it is possible to reconstruct her understanding and enactment of the principles of performance art in the new medium. These sources, as well as Wiercińska’s correspondence, confirm that radio was her passion, showing the place of radio work in her artistic output and the influence of her experience in recitation on her work with the microphone. The perspective of micro-history enables a thorough examination of this form of Wiercińska’s work, casting light on this somewhat forgotten figure. The article broadens the knowledge about women who co-created Polish theatre in the 20th century.
2
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Do Desvalido ao Samaritano (Lc 10, 25–37): da audição à recitação pela decisão em Teologia Narrativa

100%
Borges de Meneses R. D.
Prosopon. Europejskie Studia Społeczno-Humanistyczne
|
2021
|
issue 1(34)
27-40
EN
The Good Samaritan parable defines, according to your biblical formulation, and plays a very important role to the decision (charity), recitation (hope), and audition (faith). However, there is a necessary relationship between these three elements, and the theological meaning of the splancnophanic deliberation, that is the truthly parable’s foundation in the biblical sense, and morality according the plesiologic aretology, and poietic ethic.
3
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Os Significados da Saúde: da audição à recitação

86%
Borges de Meneses R. D.
Prosopon. Europejskie Studia Społeczno-Humanistyczne
|
2018
|
issue 1(22)
15-27
EN
Right now I am seeking a new Health`s definition in spitev of we have been known the different definitions, that the OMS setp by srep had going to offer to thev philosophical reflection. There are so many defintions, but they have got not completely focused to somewere sense of health.
4
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Carmen echicum: разговоры с эхом в школьной поэзии конца XVII в.

58%
Кузнецова О.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2020
|
issue 13
9-15
EN
The aim of the article is to publish and discuss a little-known text from the end of the 17th century – a model representative of the poetic form called carmen echicum. Difficult fragments are commented upon and the plot is analyzed. A hypothesis about the piece’s place in its broader cultural context is put forward. A history of сarmen echicum in Russian literature is briefly outlined.
RU
В статье публикуется малоизвестный текст конца XVII в. – образец поэтической формы сarmen echicum. Комментируются сложные для понимания фрагменты, анализируется сюжет. Предлагается гипотеза о месте этого произведения в культуре конца XVII – начала XVIII вв. Кратко рассматривается история эхо-диалога в русской литературе.
5
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Video-Literature as an Expression of Full Emotional Experience

51%
Ślósarz A.
Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova
|
2017
|
issue 2
EN
Culture of the 21st century exploits human emotions for marketing, educational, social and political purposes, while postmodern aesthetics appreciate the emotional resonance of a work of literature more than its message. Human person becomes a less and less rational subject. Therefore, video-literature plays a therapeutic role because it reveals and disseminates emotions which are ignored or are repressed. Video-poetry, on the other hand, generally takes form of visual and sound animations or filmed recitations of poetry by poets. It addresses current problems and deeply involves one emotionally.
PL
Kultura XXI wieku eksploatuje emocje w celach marketingowych, edukacyjnych, społecznych i politycznych, a postmodernistyczna estetyka bardziej docenia emocjonalny rezonans dzieła niż jego kompozycję czy przesłanie. Człowiek staje się coraz mniej racjonalnym podmiotem. Dlatego wideoliteratura pełni rolę terapeutyczną – ujawnia i upowszechnia emocje pomijane w kulturze popularnej, represjonowane przez społeczeństwo. Wideopoezja przyjmuje zaś najczęściej postać wizualno-dźwiękowych animacji lub sfilmowanych recytacji wierszy przez poetów. Podejmuje aktualne problemy i silnie angażuje emocjonalnie.
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