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Sztuka „permanentnego zdziwienia”. Wokół języka symboli w Sztuce znikania Bartka Konopki i Piotra Rosołowskiego

100%
Kamińska A.
Kultura i Edukacja
|
2018
|
issue 1(119)
210-226
EN
„Art disappearance” (2012)2 is a film by Bartosz Konopka and Piotr Rosołowski, qualified by the authors of the document, but not entirely located within the traditionally understood documentary3. „Art disappearance” combines various genres: classic dokument, found footage and mocumentary. The axis, around which the narrative of the film focuses, is in fact a romantic concept of messianism of the Polish nation by Adam Mickiewicz. Less obviously, however, it is inspired by anthropological reflection of Ryszard Kapuscinski. The author analyzed those topics, associations and inspiration appearing in the film which allow the reader to include „Art of disappearing” among the works of the complicated structure of intertextual references.
2
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Trauma przeszłości. System niewolnictwa i jego przejaw w haitańskiej kulturze na przykładzie zombie

63%
Mączka E. M.
Nurt SVD
|
2020
|
issue 2
169-178
PL
Autorka podjęła próbę interpretacji systemu niewolnictwa i jego przejawów w haitańskiej kulturze na przykładzie zombie. Artykuł składa się z trzech części. W pierwszej omówiono zjawisko zombie. W drugiej przedstawiono kwestię niewolnictwa, jako doświadczenia granicznego. W ostatniej – ukazano zombie jako metafory traumy niewolniczej. Zwrócono przy tym uwagę na następujące przymioty: dusza, podmiotowość człowieka, niewolnictwo. Celem niniejszego artykułu jest ukazanie zombie jako przejawu traumy niewolniczej funkcjonującej w haitańskiej mentalności. Artykuł stanowi zasygnalizowanie powyższego problemu badawczego.
EN
The author made an attempt to interpret the slavery system and its manifestations in Haitian culture on the example of zombie. The article consists of three parts. The first deals with the zombie phenomenon. In the second the question of slavery as a borderline experience is presented. The last one shows zombie as metaphor for slave trauma. The following qualities were also noted: soul, human subjectivity and slavery. The purpose of this article is to reveal zombie as a symptom of slave trauma functioning in the Haitian mentality. The article is to signal the above mentioned research problem.
3
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“All’s Well that Ends Welles”: Orson Welles and the “Voodoo” "Macbeth"

63%
Sawyer R.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2016
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vol. 13
|
issue 28
87-103
EN
The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.
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