Search results

1

Paweł Graf, Automobil w pędzie. Studia o futuryzmie i futurystach, Wydawnictwo Naukowe UAM, Poznań 2018, pp. 522.

100%

Ranocchi E.

pl.it / rassegna italiana di argomenti polacchi

|

2020

|

issue 11

215-219

2

„Najmłodsi futuryści warszawscy”, czyli o peryferiach polskiego futuryzmu – próba rekonesansu

80%

Jaworski K.

pl.it / rassegna italiana di argomenti polacchi

|

2016

|

issue 7

15-25

EN

The article discusses the so-called periphery of Polish Futurism, especially the activities of those known as the “Youngest Warsaw futurists”, who to this day are considered only as imitators or even plagiarists of writers such as Bruno Jasieński and Aleksander Wat, the artists who represent the mainstream of this literary movement. These groups (“Warsaw Katarynka”, “Homunkulus”) were active in literary field in the years 1921-1924, but most of their ephemera (“jednodniówki” – once-lived publications) have so far been considered missing. The article attempts for the first time to sort out the chronology of these publications and to show them in the broader context of “recognised” Futurist publications.

3

The Polish Cyborg. A Reflection on the Relationship between Man and Machine in Early Polish Modernism

70%

Ranocchi E.

pl.it / rassegna italiana di argomenti polacchi

|

2016

|

issue 7

39-60

EN

Far from being enthusiastic “modernolatry” of Italian futurism, Polish futurism demonstrates an attitude of ambivalence toward modernity. This is particularly evident in the Polish approach to that very synecdoche of modernity which is the machine. In his essay of 1923, the leader of the group, Bruno Jasieński, compares the fetishistic cult of the machine, which characterizes the Italian approach, with the utilitarian one of the Russians, exemplified by a quote from Majakovskij. To these two propositions, as a sort of Hegelian synthesis, he adds a Polish one consisting in the conception of the machine as a prosthesis, a continuation of the human body. Thereby he introduces an idea later known as “cyborg”. The category of cyborg is also useful to understand the work of another today almost forgotten Polish writer of the Twenties, Jerzy Sosnkowski. He was the author of a short novel, A Car, You and Me (Love of Machines), in which a whole chapter concerns the chief character’s dystopian nightmare wherein machines take control over the world. The third section of the essay deals with the idea of man a machine – an old, 18th century conception, which became actual anew in the 20th century and whose traces we can findc among others in a well-known poem by Tytus Czyżewski. Thirty years before N. Wiener, Polish modernists seem to have sensed the social, political and anthropological implications of the mechanization of work.

4

Futurism and the Birth of Fascism

70%

Donátková Z.

West Bohemian Historical Review

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2020

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vol. 10

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issue 1

69-99

EN

This study analyses selected aspects of the Italian Futurist movement’s political agenda, its involvement in interventionist campaigns for Italy to join the First World War, and its subsequent role in the forming of the Fascist movement. The Intervento, the nine-month period when the nation was deciding whether to join the war, became an important milestone in Italian history, bringing together diverse political forces in Italy previously hostile to each other, shaping the traits which would determine its future. The turbulent days of the Intervento also marked the beginning of co-operation between the founder of Futurism, F. T. Marinetti, and Benito Mussolini, which culminated in the founding of the Fasci di Combattimento.

5

„Na skrzyżowaniu dwóch wrogich epok stoję, cynicznie gryząc papieros”. O tekstowych projekcjach twórczości futurystów w relacji do ich postaci multimedialnych na przykładzie Marsza Bruno Jasieńskiego

70%

Graf P.

pl.it / rassegna italiana di argomenti polacchi

|

2016

|

issue 7

77-91

EN

The article focuses on the media transformation of literary works. B. Jasieński’s futurist poem Marsz, published in the interwar period in printed form, recently underwent a multimedia adaptation. The author analyzes the mutations the literary text underwent in interpretation and significance when expressed in the new creative forms of contemporary multimedia “language”. The analysis of the formal structure and of several, sometimes small semantic elements, shows the different way of understanding the poem as expressed through new multimedia means. The futurist poem Marsz has been read as an ironical poem, totally contradicting its original literal meaning. The second part of the article examines a digital version of the poem, which again changes its original meaning. At this moment in time, the relationship between the textuality and virtuality of poetry (and literature in general) constitutes the main space where art “happens” and manifests itself. Thus, the discussion over the digital version of Jasieński’s poem leads to some general considerations about contemporary theory of image and its anthropological expressions.

6

Panorama di collaborazioni internazionali. Enrico Prampolini e i suoi contatti con gli ambienti dell’avanguardia polacca

70%

Strożek P.

pl.it / rassegna italiana di argomenti polacchi

|

2016

|

issue 7

27-37

EN

The article focuses on the reception of Enrico Prampolini’s work in Polish Avant-garde circles in the 1920s and 1930s. It shows Prampolini as a central figure in “networking” between artists and illustrates how such “networking” phenomena resulted in the popularisation of Italian Futurism in Poland and Polish Avant-garde in Italy. It highlights the range of Prampolini’s contacts with Poland, especially with the «Zwrotnica» circle, Jalu Kurek and Jan Brzękowski, who promoted his theatrical productions and paintings. The outcome of these contacts was most of all a good knowledge of Futurist scenography in Poland, an invitation for Polish scenographers to take part in the “Triennale” which Prampolini organized in 1936 in Milan, and his cooperation with the “a.r.” collection of Modern Art in Łódź. The painting entitled Tarantella (1920), which Prampolini offered to Brzękowski and was installed in Łódź in 1931, testifies to this important collaboration.

7

Awangarda płodna i bezpłodna

70%

Baron-Milian M.

Zagadnienia Rodzajów Literackich

|

2018

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vol. 61

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issue 2(126)

37-50

XX

Productive and Unproductive Avant-garde

8

O položaju organske neizgrađene prirode u poetici i ideologiji istočnojadranskog futurizma

70%

Pužar A.

Poznańskie Studia Slawistyczne

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2022

|

issue 22

271-288

EN

The article offers an overview of lesser-known aspects of the Eastern Adriatic futuristic avant-garde in a broader sense: both the futuristic movement itself and the phenomena that relied on it in conventional interpretations. Selected episodes relate to the examination of the futuristic relationship to the organic unbuilt nature. Emphasis is placed on the comparative image of this multicultural and multilingual literary region, beyond national historiographical conventions.

9

Futurism and Witkiewicz: Variety, Separation and Coherence in a Theatre of Pure Form

61%

Ramsay G.

Estetyka i Krytyka

|

2013

|

issue 4(31)

121-135

EN

This article will consider Witkacy’s theatre plays alongside his contribution to dramatic theory with the Theory of Pure Form. In particular, it will examine the interplay between a sense of unity and a sense of the alogical, a term first used by the Italian Futurists. Focusing on The Water Hen but with reference to other plays as well as Futurist theoretical and dramatic counterparts, the article investigates on the one hand the interruption of narrative and linear progression, and uncertainty as to existence, identity and relationship; and on the other hand the persistent continuous underlying anxiety within the characters themselves and their sense of journey and destination. I suggest that his use of a series of arresting visual images and theatrical transformations unifies the scenes with in a single dream-like world, bringing an order, however opaque, to the chaos.

10

Awangarda panoramicznie

53%

Nowicka D.

Poznańskie Studia Slawistyczne

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2020

|

issue 18

305-317

EN

The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.

11

Intensywność Wata

53%

Kandziora J.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2012

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issue 19

303-316

EN

The article discusses a collection of literary essays Elementy do portretu. Szkice o twórczości Aleksandra Wata published and edited by Poznań-based specialists in Polish literature and dedicated to Professor Ewa Wiegandt. The starting point for the discussion is the observation that the authors of the essays had to grapple with the elusiveness and multidimensional character of the output of A. Wat, with the entanglement of the text of his works with the text of his biography, and finally with the multitude of its cultural contexts. The reviewer distinguishes four research currents in the collection of essays, each being a different answer to these particular traits of Wat’s writing. Historical and literary studies in the book show the author in his relations and as a non-categorizable author, and challenge the Futurist character of his juvenile writings by juxtaposing them with earlier Symbolism and later Catastrophism. The interpretative study current tries to find ways to define Wat through reading his individual works. Here, the overriding opposition between ”closeness” and ”openness”, so pivotal in the poet’s works, becomes apparent. The current of thematology that present Wat’s literary topoi in relation to his biography is well represented in the volume. Finally, the studies that cross the strictly literary horizon try to capture the multi-tier structures of Wat’s works, reinterpreting them from the sociological, historical or axiological perspectives. The final conclusion of the review is the acknowledgement of the richness offered by the book that corresponds well to the intensity of works and the biography of the author.

12

Mafarka il futurista come romanzo italiano dell’avvenire. F.T. Marinetti e il grande concorso di Poesia

51%

Pernice V.

e-Scripta Romanica

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2019

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vol. 7

52-59

EN

This paper aims to link the writing of F.T. Marinetti’s Mafarka il futurista with the “great contest for an unpublished italian novel” proposed by the literary magazine Poesia. The negative ending of this competition raises several aesthetic issues, similar to the ones that may have guided the father of Futurism in writing his first novel. Therefore, it is possible to confirm the precocious interest of the Italian avant-garde in the novel genre.

IT

Il presente contributo intende collegare la stesura di Mafarka il futurista di F.T. Marinetti al “grande concorso di Poesia per un romanzo italiano inedito”. L’esito negativo della competizione fa emergere una serie di considerazioni estetiche, paragonabili a quelle che avrebbero guidato il padre del futurismo nella scrittura del suo primo romanzo. Viene così confermata la precoce attenzione dell’avanguardia italiana nei confronti di questo genere letterario.

13

Western European avant-garde theatre and puppetry: a reappraisal

51%

Plassard D.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2022

|

vol. 25

|

issue 1

13-26

EN

The article addresses the question of how much the historical avant-gardes introduced radical breaks in artistic practice and can be considered as forerunners of what would happen after them. If we consider the case study of puppetry, where no homogenous tradition nor specific institutions existed at the beginning of the 20th century, we can observe that the experiments of the Cubist, Futurist, or Dadaist poets and painters in that field did not radically differ from those of the Symbolist and Modernist circles a few decades before. In many cases the avant-garde artists, when working on puppet and marionette theatre projects, were surprisingly open to collaborate with traditional puppeteers, as well as with theatre and art institutions. The dramaturgy often followed time-honoured patterns, with the prevalence of parody and folk or fairy tales as major sources of inspiration, a focus on artistic circles and children as audiences, and a composition of the show that respected the habits of mainstream marionette theatres. Original subjects are mainly to be found in Pierre Albert-Birot's, Fortunato Depero's, and Kurt Schwitters' plays for marionettes and shadows. Yet, because many of the avant-garde artists experimenting in puppetry were painters and sculptors, they introduced a major change in the composition of puppet plays: visual transformations of the figures marked the steps of the action, alternating biomorphic and non-figurative outlines, images of living beings and of mechanical objects. Thus, they put on stage a drama that was going much further than the conditions of the productions, or the dramaturgy they were using, could do: the drama of entering into a new mechanical age, where the place for mankind had to be re-invented.

14

Emancypacyjny projekt pierwszej polskiej awangardy

41%

Pfeifer K.

Pamiętnik Literacki

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2021

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vol. 112

|

issue 1

5-20

PL

Autor bada dyskursy emancypacyjne w tekstach programowych polskiego futuryzmu, skupiając się na kwestiach równouprawnienia klas i płci, postulatach uspołecznienia sztuki oraz roli, jaką w rozumianym w ten sposób projekcie miał odgrywać język. Artykuł dotyka również problemu stosunku polskich futurystów do przeszłości i tradycji, przekonując, że ich gest mający na celu pogrzebanie tradycji więcej miał wspólnego z budowaniem „nowego” niż burzeniem za wszelką cenę tego, co przeszłe. Zgodnie z tezą, że futuryzm trafił na podatną glebę w regionach peryferyjnych lub półperyferyjnych, „futuryzacja” miałaby tu pełnić funkcję dyskursu modernizacyjnego. Metodologia wywodu została ufundowana na pojęciach zakorzenionych w filozofii Jacques’a Rancière’a, Michela Foucaulta, w teorii systemów-światów Immanuela Wallersteina oraz w ustaleniach badaczek i badaczy wywodzących się z krytyki feministycznej.

EN

The author of the paper examines the emancipatory discourses in the programmatic texts of the Polish Futurism, focusing on the issues of class and sex equalities, on postulates of art socialising, and on the role that language might perform in the project conceived in the aforementioned dimension. The article also touches the problem of the Polish Futurists’ attitude to past and tradition, convincing that their stance that aimed at burying tradition proved to have more in common with building the “new” than with destroying everything which belonged to past at all costs. In line with the thesis that Futurism met with favourable conditions in peripheral and semi-peripheral regions, “futurisation” was to have performed the function of modernisatory discourse. The paper’s line of reasoning is set in the terms rooted the philosophy by Jacques Rancière, by Michel Foucault, in Immanuel Wallerstein’s world-systems theory, and in settlements by female and male feminist criticism researchers.

15

Fashion as the Other of art. The position of clothing design in the avant- -garde art and in the contemporary era

41%

Samborska M.

Art Inquiry. Recherches sur les arts

|

2017

|

vol. XIX (XXVIII)

141-151

EN

Analyzing the relationships between art and fashion, I will refer to the category the Other/ identical. For several decades, it has been popular in the humanistic debate, subject to various interpretations (Derrida, Foucault, feminism, post-colonialism). In the meaning adopted here, just as the Other is a condition for the existence of the identical, so, I believe, fashion is a point of reference for art. It functions as an element allowing art to build its identity on being different from it. This situation was particularly evident in the first half of the 20th century. In the introductory part of my paper, I will present some examples of avant-garde artists' involvement in the design of clothing treated on an equal footing with artistic activity. For the Futurists and Constructivists, the Other and the identical were equal. The second part of the paper describes the situation that arose at the end of the 20th century, when equality between the Other and the identical took a different form. The identical started imitating the Other – art now resembles a fashion show, advertising photography or a luxury boutique. This reveals the anti-nomical character of art, its secret connection with fashion, anticipated by Theodor W. Adorno. Contemporary art no longer has the strength to resist it. They blend into the aesthetic visual sphere.

PL

Analizując związki miedzy sztuką a modą odwołuję się do kategorii Inny/tożsamy. Od kilku dziesięcioleci jest ona popularna w debacie humanistycznej podlegając różnym interpretacjom (Derrida, Foucault, feminizm, postkolonializm). W przyjętym tu sensie, podobnie jak Inny stanowi warunek istnienia tożsamego, tak, moim zdaniem, moda jest punktem odniesienia dla sztuki. Funkcjonuje jako element pozwalający sztuce budować tożsamość na zasadzie odróżnienia się od niej. Sytuacja ta ze szczególną wyrazistością ujawniła się w pierwszej połowie XX wieku. W początkowej części tekstu przedstawiam przykłady zaangażowania artystów awangardowych w problematykę projektowania ubioru traktowanego na równi z działalnością artystyczną. Dla futurystów i konstruktywistów Inny i tożsamy były sobie równe. Druga część tekstu pokazuje sytuację rodzącą się pod koniec minionego stulecia, gdy równość między Innym i tożsamym przyjęła odmienną formę. Tożsamy zaczął imitować Innego – sztuka przypomina obecnie prezentację mody, fotografię reklamową lub luksusowy butik. Wyszła na jaw przeczuwana przez Theodora W. Adorna antynomiczność sztuki, jej sekretny związek z modą. Współczesna sztuka nie ma już sił opierać się jej. Roztapia się wraz z nią w estetycznej sferze wizualnej.

16

Principy futurismu a kubofuturismu v poezii raného Vladimira Majakovského

41%

Kitzlerová J.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2018

|

vol. 57

37-48

EN

This paper surveys the principles according to which futurists and cubofuturists created their works of art (predominantly paintings and sculptures), and focuses on the conscious use of these rules in the early poetry of Vladimir Mayakovsky. This is shown in detail on two of Mayakovsky’s poems dating from 1913, В Авто and Из улицы в улицу. The linguistic analysis comprises especially Mayakovsky’s use of metaphor, the verbal forms, as well as the graphic level of his poems.

17

Yeży Yankowski vs. Jankowski: a breakup with young Poland and with himself (act I)

31%

Okulicz-Kozaryn R., Okulicz-Kozaryn R.

Ruch Literacki

|

2020

|

issue 1

Refine search results

Paweł Graf, Automobil w pędzie. Studia o futuryzmie i futurystach, Wydawnictwo Naukowe UAM, Poznań 2018, pp. 522.

„Najmłodsi futuryści warszawscy”, czyli o peryferiach polskiego futuryzmu – próba rekonesansu

The Polish Cyborg. A Reflection on the Relationship between Man and Machine in Early Polish Modernism

Futurism and the Birth of Fascism

„Na skrzyżowaniu dwóch wrogich epok stoję, cynicznie gryząc papieros”. O tekstowych projekcjach twórczości futurystów w relacji do ich postaci multimedialnych na przykładzie Marsza Bruno Jasieńskiego

Panorama di collaborazioni internazionali. Enrico Prampolini e i suoi contatti con gli ambienti dell’avanguardia polacca

Awangarda płodna i bezpłodna

O položaju organske neizgrađene prirode u poetici i ideologiji istočnojadranskog futurizma

Futurism and Witkiewicz: Variety, Separation and Coherence in a Theatre of Pure Form

Awangarda panoramicznie

Intensywność Wata

Mafarka il futurista come romanzo italiano dell’avvenire. F.T. Marinetti e il grande concorso di Poesia

Western European avant-garde theatre and puppetry: a reappraisal

Emancypacyjny projekt pierwszej polskiej awangardy

Fashion as the Other of art. The position of clothing design in the avant- -garde art and in the contemporary era

Principy futurismu a kubofuturismu v poezii raného Vladimira Majakovského

Yeży Yankowski vs. Jankowski: a breakup with young Poland and with himself (act I)