Search results

1

Mroczna turystyka w cieniu atomu. Zwiedzanie Fukushimy

100%

Karpiuk A., Popławski B.

Przegląd Humanistyczny

|

2017

|

vol. 61(1 (456))

181-191

PL

This paper discusses the phenomenon of atomic tourism in the light of the Fukushima I nuclear disaster. The first part outlines research problems and examines the character of dark tourism at various sites of accidents, disasters and nuclear attacks. The other part brings into focus the disaster at Fukushima I together with its consequences. The tragic events in Japan soon gave rise to a tourist movement that has drawn visitors to the ravaged sites. The paper presents the matter as seen by the Japanese people themselves: journalists, makers of culture and social activists.

2

Słabe archiwa destrukcji. Notatki z podróży do H., N. i F.

75%

Szerszeń T.

Konteksty - Polska Sztuka Ludowa

|

2019

|

vol. 73

|

issue 3 (326)

134-137

PL

Jakie archiwum pozostanie po końcu? I jaka jest relacja między archiwum a katastrofą? Dziś, w dobie nadchodzącej klimatycznej katastrofy, pytanie to zyskuje na nowo swoją aktualność. By zrozumieć to, co prawdopodobnie czeka nas w przyszłości, należy, zapewne, z większą uwagą studiować inne katastrofy: te, które się już zdarzyły. Tekst jest próbą zmapowania pojęć i obrazów związanych z atomową apokalipsą i z takimi miejscami ludzkiej i nie-ludzkiej destrukcji, jak Hiroszima, Nagasaki, Fukuszima, ale również Auschwitz, Czarnobyl i… Pompeje.

EN

What sort of an archive will remain after the end? And what is the relation between archive and catastrophe? Today, in an era of an encroaching climate catastrophe, this question once again becomes topical. In order to understand what will possibly await us in the future we should study, probably while paying greater attention, other catastrophes – those, which had already taken place. This text attempts to chart concepts and images associated with the atomic apocalypse and such sites of human and non-human destruction as Hiroshima, Nagasaki, and Fukushima but also Auschwitz, Chernobyl and… Pompeii.

3

Warsztaty z Apokalipsy. Zagrożenia atomową zagładą w reportażach Swietłany Aleksijewicz, Katarzyny Boni oraz Johna Herseya

63%

Augustyn K.

Przegląd Humanistyczny

|

2017

|

vol. 61(1 (456))

109-117

PL

The article analyses the reportage of John Hersey, Svetlana Alexievich and Katarzyna Boni devoted to the victims of the atomic bomb explosion in Hiroshima, as well as the nuclear reactor accidents in Chernobyl and Fukushima. Presenting the consequences of disasters, not only in material, but above all in human terms, the author makes an attempt to find out how societies, including the heroes of reportage, process the trauma of contamination through culture, and what is the role in this process of the fictionalized type of this genre of the non-fiction prose. To answer the question whether the contemporary reportage can serve as a culture-creating factor, the author analyses the linguistic and stylistic features, which carry cultural meanings, as well as the composition of reportage texts revealing the way the authors build the world presented of their authentic stories.

4

“Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan

63%

Eglinton M.

Multicultural Shakespeare: Translation, Appropriation and Performance

|

2016

|

vol. 14

|

issue 29

51-72

EN

Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number of performances that have attempted to be multilingual. Most of them, however, turn out to be translingual, blurring the borders of linguistic specificity. As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe?

Refine search results

2 Przegląd Humanistyczny

1 Konteksty - Polska Sztuka Ludowa

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 2019

2 2017

1 2016

1 Augustyn K.

1 Eglinton M.

1 Karpiuk A.

1 Popławski B.

1 Szerszeń T.

Mroczna turystyka w cieniu atomu. Zwiedzanie Fukushimy

Słabe archiwa destrukcji. Notatki z podróży do H., N. i F.

Warsztaty z Apokalipsy. Zagrożenia atomową zagładą w reportażach Swietłany Aleksijewicz, Katarzyny Boni oraz Johna Herseya

“Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan