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1
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Zielnik miłosny z bluszczem w tle – Maria Pawlikowska-Jasnorzewska i Edgar Allan Poe o sztuce i uczuciach

100%
Kulig A.
Polonistyka. Innowacje
|
2016
|
issue 3
151-164
EN
The purpose of this article is to describe and comment on didactic solutions used at the middle school, related to the poetry of Maria Pawlikowska-Jasnorzewska and the short story of an American writer. The Oval Portrait by Edgar Allan Poe. The described methodological tools were developed as part of the national project conducted by the Institute for Educational Research. The basis for the juxtaposition of various texts are such categories as: the arts, love and nature, all strongly present in the works of the above mentioned artists. Conclusions of methodological nature are accompanied by literary reflection.
PL
Celem niniejszego artykułu jest opisanie i skomentowanie rozwiązań dydaktycznych na poziomie gimnazjum, związanych z poezją Marii Pawlikowskiej-Jasnorzewskiej i nowelą amerykańskiego twórcy – mowa tutaj o Portrecie owalnym Edgara Allana Poe. Opisane narzędzia metodyczne powstały w ramach ogólnopolskiego projektu prowadzonego przez Instytut Badań Edukacyjnych. Podstawą do zestawienia ze sobą różnych tekstów są takie kategorie, jak miłość, sztuka i natura, silnie obecne w twórczości wspomnianych artystów. Wnioskom metodycznym towarzyszy refleksja o charakterze literaturoznawczym.
2
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Ja-Ty-Wspólnota. Samotność jako strategia wykluczania?

100%
Kulig A.
Zeszyty Naukowe Centrum Badań im. Edyty Stein
|
2014
|
issue 12
237-248
PL
In the article I reconstruct the psychological structure of solitude. The twoforms of solitude – by choice and unwanted – influence the way of experiencing and describing it in culture. I analyze the unwanted solitude, imposed on individuals and communities sources of which are cultural differences, power of stereotypes and superstitions.The violence against ethnic and religious minorities can appear where there is an approval of maintaining cultural solitude. I also consider the relationship between the concept of solitude and Bernhard Waldenfels' alienation category.
3
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"Rytuały rodzinne'. Wobec śmierci w filmie

100%
Kulig A.
Zeszyty Naukowe Centrum Badań im. Edyty Stein
|
2012
|
issue 9
325-332
PL
In the article Family rituals in the face of death the author analyzes fi lms from the perspective of the experience of a family confronted with death. The author is interestedin what family rituals are still used at this time and what actions have been abandoned.The presented fi lms demonstrate fascination with the topic of death, which is present in every culture with different intensity, by means of various descriptions which are attractivebecause they are fi lled with the richness of symbols. The majority of these films emphasize a shift in the discourse about death in social space towards an individual subject. The author wanted to observe and show the moment when the community experience of death and mourning was given up and the ritual passed into the hands of specialized institutions.
4
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Polska wieś z kobiecej perspektywy. Realny socjalizm w twórczości filmowej Ireny Kamieńskiej – wybrane aspekty

63%
Grzywacz M., Kulig A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
|
vol. 116
|
issue 4
92-107
EN
The period of the Polish People’s Republic (communist Poland, in Polish: Polska Republika Ludowa, PRL) was a difficult time for the Polish rural population, marked by dynamic changes. Nevertheless, the impact of socialist ideology on Polish agriculture was not as profound as the patterns of Soviet collectivisation present in the official propaganda until the end of the Stalin era could indicate. Traditional family farms operated alongside the nationalised production plants of the new type. The revision and modification of the long-established family and social patterns proved difficult. In the times of rapid industrialisation, young people left their hometowns and villages for the city to find better conditions for personal and professional development. In the 1950s, documentaries started playing the role of a seismograph of social change, with many directors addressing rural issues and adopting a critical and interventional approach to the contemporary situation. This article focuses on Irena Kamieńska, one of the most famous Polish documentary filmmakers, and her capturing of the social aspects of life in the PRL through the prism of historical anthropology. The female perspective, as indicated in the title, can be found in the specific character of Kamieńska’s productions that can be read not only as films documenting the social life of that period but also as universal stories of the excluded, the poor, and the lonely, regardless of age. Kamieńska presents socialism, proclaimed a system of opportunities and development, in equivocal terms. Rather than offer ready answers or fixed instructions the director encourages a deeper reflection and thus subscribes, as a documentary filmmaker, to the larger movement of the Polish cinema of moral anxiety.
5
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Wstęp

51%
Kaczmarek A., Kulig A., Machtyl K.
Zeszyty Naukowe Centrum Badań im. Edyty Stein
|
2014
|
issue 12
5-7
PL
Brak
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