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1

Burza – Szekspirowskie simulacra

100%

Kencki P.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

36-48

EN

The introductory part of the essay brings an account of Jean Baudrillard’s theory of simulation with the aim of appropriating it for the theory of theatre. The author, referring to his previous reflexions on the sphere of spectacles, this time attempts to define it not only in reference to the categories of spectacularity and performativity but also to that of simulacrity. Thus, a triangular model is created. Close to its vertices, phenomena that may be defined through one of the said categories can be located; along the triangle’s edges phenomena that need to be described in reference to two such categories would be situated; and finally, within its plane, one could place phenomena defined by all three categories. The phenomenon of theatre, as based on the combination of spectacularity, causal performativity and simulation, needs to be located in the centre of the diagram. The second part of the essay presents an analysis of The Tempest by Shakespeare and applies the conceptual tools described above. The analysis takes into account that the comedy, charged with a strong meta-theatre element, is located at the interpretational mezzanine of sorts and reveals its full meaning only through staging. Only then do its spectacular and performative aspects appear in sharp light, e.g. when actors as characters watch other actors (spectacularity), or when Prospero acts as a performer. The proposed reading of The Tempest, however, puts special emphasis on the problem of simulacra. As can be seen, their structure in Shakespeare’s work is quite peculiar (the title tempest): they are embedded in the meta-theatrical tradition (the clothes that simulate the change of status of their new wearers) and, significantly, appear as metaphors in other works by the Stratford playwright (the motif of ivy). It is easy to see that the presence of simulacra in the world portrayed in The Tempest allows the characters to free themselves from the appearances. The same chance is offered to the readers of the comedy and to the audience of the play as well.

2

Symbole i ich starzenie się w ujęciu Thomasa Carlyle ’a

88%

MAŁECKA A.

Stylistyka

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2007

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vol. 16

117-124

PL

The paper discusses Thomas Carlyle’s symbolism - „clothes philosophy” - and the problem of ageing of symbols. First, the category of clothes as symbols is analysed, in the view of contemporary semiotics. Next, the spiritual meaning of clothes philosophy is outlined. In the Scottish philosopher’s opinion, clothes-symbols gradually wear out wi- thin the historie process, and can no longer “dress” the spirit. Baudrillard’s concept is quoted in this context. Carlylean inauthentic symbols become hollow shells or simulacra - signs with no reference to any reality which they were designed to point at, and - within certain limits - substitute. The need for new forms and „clothes”, which would appeal to contemporary generation, emerges, and the fundamental role here is to be played by hero- es. The tailor should be re-tailored, as the title of Carlyle’s masterpiece Sartor Resartus suggests.

3

The appearance of truth – the truth of appearance. Steen Steensen Blicher: Præsten i Vejlby

88%

Gergye L.

Folia Scandinavica Posnaniensia

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2018

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vol. 25

89-100

EN

The paper discusses a piece by one of the most outstanding Danish short story writers of the 19th century, structured around the convential elements of detective stories. Relying on Jean Baudrillard’s simulacra theory, it attempts to demonstrate the process of how the intriguer Morten Bruus, by a successful use of make-believe, manages to incriminate a pastor, Søren Qvist, in a murder although he is innocent. Bruus’s manipulative strategy prevails in the end: he succeeds at deceiving both his environment and the judge presiding in the case, and the accused is executed. The truth is revealed only twenty years later when Niels Bruus, long thought to be dead, returns. Drawing on Derrida’s legal philosophy, the analysis seeks to expose the problematic nature of justice on earth, and it shows by revisiting certain ideas of Kierkegaard that even in the shadow of death, steadfast faith in divine justice can get us over our fears and the eternal uncertainty deriving from the essence of human existence.

4

Kopiowanie miejsc pamięci. Przypadek Pomnika Poznańskiego Czerwca 1956

75%

Praczyk M.

Przegląd Zachodni

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2014

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issue 2(351)

273-286

EN

The article discusses the phenomenon of the copying of Lieux de mémoire situated in the public space of the city of Poznań on the example of the Poznań 1956 Protests Memorial. The study is focused on the problem of the production of new meanings, which are generated in relation to the monument – prototype. The context of the reception of Poznań 1956 Protests Memorial and the meaning of the initial commemoration changes depending on the form and location of copies. The article also considers the problem of consolidation of identities of social groups which occurs by reference to the symbol (memorial) of the 1956 Protests. In her research the author makes use of such concepts as Andrzej Szpociński’s “monumental memory”, Jean Baudrillard’s “simulacra and simulation” and Pierre Nora’s lieux de mémoire.

5

"Historia rozumienia świata" Piotra Kowalskiego

63%

Libera Z.

Rocznik Antropologii Historii

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2017

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issue 10, Antropologia - folklor - historia

87–94

XX

Piotr Kowalski’s impressive work, the content of all his books (thematically varied) considered as a whole, provides us with what was his conscious intention: ‘the history of understanding the world’. That consists of descriptions of ‘magic culture’ and ‘popular culture’ (postmodernity) as the ones which are separate beings; there is no historical continuity between them as if ‘the history of mentality’ was made of two phases and meant a transition from symbolic forms to conventional signs. He described that history as the history of the signs and texts, the process of losing the referentiality of semiotic forms. Thus, the totally different types of culture, ‘the magic culture’ and ‘the postmodern culture’, require different interpretational methods. The presented article is a study of the essential claims by Piotr Kowalski, on which of his publications are based.

6

Проблема дегуманизации в виртуальном тексте новейшей русскоязычной драматургии

51%

Pieczyński M.

Przegląd Rusycystyczny

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2023

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issue 2 (182)

99-123

PL

Postsowiecka dramaturgia rosyjska jest tekstocentryczna oraz literaturocentryczna. Najważniejszym punktem odniesienia dla jej twórców jest szeroko rozumiany tekst. Zarówno literacki, jak i tekst kultury. Dramatopisarze w swoich utworach performatywne przedstawianie zastępują retrospektywnym opowiadaniem. Centrum zainteresowania stanowi zaś nie tyle otaczająca rzeczywistość, co jej kulturowy obraz. W ostatnich latach coraz częściej obraz ten ma charakter wirtualny. Dramaturgia chętnie wykorzystuje technologie informacyjne. Dialogi przypominają internetowe czaty, zaś relacje bohaterów wywołują skojarzenia z kontaktem utrzymywanym za pośrednictwem portali społecznościowych. Redukcja świata przedstawionego do poziomu przestrzeni wirtualnej skutkuje degradacją człowieczeństwa. Bohater dramatu współczesnego wiele ma wspólnego z postaciami gier komputerowych. Zanurzony w przestrzeni Internetu, traci kontakt z otaczającym go światem. To zaś prowadzi albo do pełnej demoralizacji, albo wręcz do całkowitej dehumanizacji. Człowiek w omawianych tekstach staje się swoim własnym, cyfrowym symulakrem. Dehumanizacja ma charakter dosłowny lub metaforyczny. W pierwszym przypadku bohater albo traci swoją ludzką naturę, albo w ogóle nie jest człowiekiem. Trafia do świata wirtualnego, zamieniając się w postać z gry komputerowej, jak w sztuce „Net” Walerija Pieczejkina. Ewentualnie sam jest częścią tego świata – wideoblogerką z kamerą zamiast ręki lub inteligentnym asystentem osobistym o imieniu Siri. Metaforycznej dehumanizacji ulegają bohaterowie, uzależnieni od Internetu, pogrążeni w przestrzeni wirtualnej. Postaci sztuk „Dziennik Alony Cziżuk” Julii Woronowej oraz „Grisza” Ingi Wosk komunikują się ze sobą wyłącznie za pośrednictwem czatów i portali społecznościowych. Człowiek, o którym piszą autorzy nowego-nowego dramatu, często zamiast imienia posługuje się internetowym nickiem, a seks, z reguły wirtualny, traktuje jak ucieczkę od rzeczywistości, tracąc zdolność nie tylko do miłości, ale nawet do odczuwania fizycznej przyjemności. Intertekstualny, tekstocentryczny „nowy dramat” powoli ustępuje miejsca nowemu zjawisku, które można określić mianem internetowego „nowego-nowego dramatu”. Jest on również tekstocentryczny, jednak w jego centrum znajduje się tekst wirtualny.

RU

Постсоветская русская драматургия имеет текстоцентричный и литературоцентричный характер. Для ее авторов важнейшей точкой отсчета является широко понимаемый текст. Как литературный, так и текст культуры. Драматурги в своих произведениях перформативное представление заменяют ретроспективным рассказом. В центре внимания находится не окружающая действительность, только ее культурный образ. В последние годы все чаще этот образ имеет виртуальный характер. Драматурги часто пользуются информационными технологиями. Диалоги напоминают онлайн-чаты, зато отношения между героями вызывают ассоциации с коммуникацией в социальных сетях. Реальный мир вытесняется виртуальным, что ведет к деградации человечности. Герой современной пьесы имеет много общего с героями компьютерных ирг. Он, погружаясь в пространстве Интернета, теряет связь с окружающим миром. Это ведет к полной деморализации или даже к окончательной дегуманизации. Человек в анализируемых пьесах становится своим собственным, цифровым симулякром. Дегуманизация имеет дословный или метафоричный характер. В первом случае персонаж либо теряет свою человеческую сущность, либо вообще не является человеком. Он попадает в виртуальный мир, превращаясь с героя компьютерной игры, как в пьесе Net Валерия Печейкина. Или он сам является частью этого мира – как в случае видеоблогерши с камерой вместо руки или виртуальным помощником Сири. Метафоричной дегуманизации подвергаются те, кто страдает от Интернет-зависимости. Персонажи пьес Юлии Вороновой и Инги Воск общаются друг с другом исключительно посредством чатов и соцсетей. Человек, о котором пишут авторы новой-новой драмы, часто вместо имени пользуется никнеймом, а секс, часто виртуальный, это для него бегство от реальности, из-за чего он теряет умение не только любить, но даже чувствовать физическое удовольствие от половых контактов. Интернеткстуальная, текстоцентричная новая драма уступает место новому явлению, которое можно назвать Интернетной «новой-новой драмой». Она тоже текстоцентрична, но в ее центре – виртуальный текст.

EN

Post-Soviet Russian-language dramaturgy is text-centric and literature-centric. The most important point of reference for its creators is the widely understood text. Both literary and cultural text. In their works, playwrights replace performative representation with retrospective storytelling. The center of interest is not so much the surrounding reality as its cultural image. In recent years, this image has become more and more virtual. Dramaturgy willingly uses information technology. Dialogues resemble online chats, and the characters' relationships evoke associations with contact maintained via social networking sites. The reduction of the presented world to the level of virtual space results in the degradation of humanity. The protagonist of a contemporary drama, immersed in the space of the Internet, loses contact with the world around him. This in turn leads either to a complete demoralization, or even to a complete dehumanization. In the discussed texts, man becomes his own digital simulacrum. Dehumanization is either literal or metaphorical. In the first case, the hero either loses his human nature or is not human at all. He ends up in the virtual world, turning into a character from a computer game, as in the play "Net" by Valery Pecheykin. Or maybe he's part of that world himself - a video blogger with a camera instead of a hand, or an intelligent personal assistant named Siri. The protagonists, addicted to the Internet, immersed in virtual space, are metaphorically dehumanized. The characters of the plays "Journal of Alona Cziżuk" by Julia Woronowa and "Grisza" by Inga Wosk communicate with each other only through chats and social networking sites. The man described by contemporary Russian-language playwrights often uses an online nickname instead of his name, and treats sex, usually virtual, as an escape from reality, losing the ability not only to love, but even to feel physical pleasure. The intertextual, text-centric "new drama" is slowly giving way to a new phenomenon that can be described as the Internet "new-new drama". It is also text-centric, but at its center is virtual text.

7

Superbohater jako produkt postmodernizmu w koncepcji Umberto Eco – kilka uwag do dyskusji

51%

Zadruska A.

Łódzkie Studia Teologiczne

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2022

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vol. 31

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issue 3

163-193

EN

The aim of this BA thesis was to present the influence of postmodernism on the image of superheroes in mass culture. It presents the most important features of postmodernism, as well as the most popular characters from the world of comics of that period. Their influence on the mentality of the recipient of the 20th and 21st centuries was also discussed. The subject of simulacra creating the world of heroes, important for the context, was also discussed. The diploma thesis is based mainly on the work of the Italian writer Umberto Eco, considered one of the most important authors on the subject of postmodernism.

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