Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 16

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
EN
The topic of the presentation is an analysis of the specific perception of Europe by two great artists from the East: Andrei Tarkovski (Nostalgia 1983) and Tadeusz Kantor (Wielopole, Wielopole, 1980, a theatrical spectacle staged as part of the Florentine programme at Teatro Regionale Toscano, Florence). The motif of the return home is inscribed into the Italian cultural landscape and experiences. The next problem is the inclusion of local, own cultural tradition into the universal entity. Both works share the motif of coming back home, nostalgia, the experiencing of the province, an epiphany of poor reality, and the significance of 'lowest rank regions'. Analysing the structure of those motifs and imagery as well as their concurrence with the essence of the symbol (a confirmation of identity, a token) the author considers the message contained in both visions - cinematic and theatrical - and its meaning for the contemporary European dialogue. This is a meaning concurrent with the ideas of an anthropological-cultural and European insight, aimed at searching for, and discovering unity in diversity.
EN
A conversation with Jacek Sempolinski, an outstanding artist and painter, about anthropology, painting, pre-war Warsaw, the Praga district and photographs by the artist's father, Leonard Sempolinski.
EN
While discussing Mityzacja rzeczywistości – Bruno Schulz’s essay on myth and poetry, of importance for anthropological reflection – the author of the article juxtaposed it with Sanatorium pod Klepsydrą, a film directed by Jerzy Wojciech Has (1972). Z. Benedyktowicz found the mechanism and phenomenon of ”glossing life with the aid of the myth”, described in Schulz’s essay (B. Schulz: “The human spirit is tireless in its glossing of life with the aid of myths”) in the strategy accepted and applied by the film director, who in his cinematic version introduced into Schulzian prose “a discovered word” – a citation from the “protoword” (myth), borrowed from the Book of Ecclesiastes [Kohelet, 12, 1-2], a profound kinship with the essence and mystery of Schulz’s oeuvre. In this way, Has’ film directly cites poetry as conceived and depicted by Schulz in his extraordinary definition formulated in the above-mentioned essay: “Poetry is the short-circuiting of meaning between words, the impetuous regeneration of primordial myth”. By continuing to devote his attention to the relations between myth and poetry described by Schulz, the author of the article concentrated on such motifs (source word, “protowords”) as “domicile” and ”returning home”, present in Polish films, poetry, and theatre (i.a. Andrzej Wajda – Tadeusz Konwicki – Tadeusz Kantor – Wojciech Jerzy Has), indicating their profound connection with the oeuvre of Bruno Schulz and constructing “memory of places” in the same spirit in which the author from Drohobycz wrote in Sanatorium pod Klepsydrą (The Hourglass Sanatorium): “Under the imaginary table that separates me from my readers, don’t we secretly clasp each other’s hands?”. Into reflections referring to his earlier works: Przestrzenie pamięci: antropologia pamięci, Antropologia pamięci i motyw domu w polskim filmie and Elementarz tożsamości the author also included his experiences from participating in the VIII International Bruno Schulz Festival in Drohobycz.
10
Content available remote

Krachla i sztolwerek – aneks

75%
11
Content available remote

Nie potrafię tego powiedzieć

63%
12
Content available remote

Pod wspólnym niebem?

63%
PL
„Kiedy myślę Bruno Schulz, myślę Drohobycz. Kiedyś nie wiedziałem, jaką rangę na mapie mitów kultury i literatury ma Drohobycz. Schulza po prostu «się znało», nawet bez dokładnego czytania jego opowiadań, albo udawało się, że się go zna, że wie się o co chodzi w jego twórczości, bo taki był kanon intelektualny drugiej połowy XX wieku w Polsce, a dodatkowo Schulz wpisywał się atrakcyjnie w indywidualną i elitarną potrzebę otwartości na to, co inne i odmienne, co pochodzi ze świata innego niż zafałszowywana przez lata rzeczywistość, w jakiej żyliśmy. (Grzegorz Józefczuk z rozmowy z Wierą Meniok , Pawłem Próchniakiem i Zbigniewem Benedyktowiczem). Numer poświęcony twórczości Brunona Schulza i Międzynarodowemu Festiwalowi Bronona Schulza w Drohobyczu zawiera teksty wybitnych Schulzologów, antropologów kultury, literaturoznawców, pisarzy, poetów, artystów z całego świata poruszonych zainspirowanych twórczością autora Sklepów cynamonowych i Sanatorium pod Klepsydrą. SchulzFest w Drohobyczu obok pasma artystycznego, jest też wydarzeniem literackim i naukowym. Numer opowiada także o Drohobyczu tym niezwykłym – jak mówił o nim Hemar – „póltoramieście” – „ Teraz myślę, że może powinniśmy ten numer zatytułować „Kosmos Schulz” albo przynajmniej „galaktyka Schulz” (śmiech).” (Paweł Próchniak w rozmowie z Wierą Meniok, Grzegorzem Józefczukiem, i Zbigniewem Benedyktowiczem). Numer 1-2/ 2019 pt. „Planeta Schulz” zadedykowany jest pamięci wybitnych Schulzologów i intelektualnych fundatorów Festiwalu Brunona Schulza w Drohobyczu, naszym Przewodnikom po Republice Marzeń – Małgorzacie Kitowskiej-Łysiak, Władysławowi Panasowi, Igorowi Meniokowi.
14
Content available remote

Ptak Sena. Rozmowa z Małgorzatą Łukasiewicz

51%
EN
A record of a conversation about the oeuvre of W. G. Sebald held with Małgorzata Łukasiewicz, an expert on Sebald’s works and their translator into Polish.
EN
A record of a conversation held with Grzegorz Kowalski - artist, professor at the Academy of Fine Arts in Warsaw, co-organiser of the celebrated inter-generation exhibitions held in the Praga district in the 1990s, and Roman Wozniak - director of Teatr Academia, organiser of a Praga event known as 'Neighbours for Neighbours', and leader of the Praga art milieus. The conversation is not only a reflection about the presence of artists in Praga and the changes which took place in the district in recent years but also an attempt at reconstructing successive exhibitions featured there.
16
Content available remote

Dwa teatry

50%
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.