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1

Recalculating the White Page-GPS Love in Comme dans un film des frères Coen

100%

Hastings V.

Human and Social Studies

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2016

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vol. 5

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issue 1

53-72

EN

Hastings reads the novel Comme dans un film des frères Coen (2010) by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” (speaks too much) therefore recalling the name of the actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself.

2

Do we really want to include disabled people in society?

86%

Ralph S.

Seminare. Poszukiwania naukowe

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2013

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vol. 33

95-114

EN

In this paper a number of issues are explored to answer the question: “Do we really want to include disabled people in our schools, colleges and societies?” Many questions are raised and such issues are discussed as legislation, media representations of disability, disability hate crime, images of disabled people, employment of disabled people, transport and other facilities, and the Olympics. Reference is made to two DVDs.

3

Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture

58%

Kaźmierczak M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 8

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issue 15-16

101-120

EN

Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture The reception of the Holocaust in popular culture is like a set of the broken images of the past. There are fluent differences between fiction and reality, beetween texts and facts, between knowledge and ignorance. This article concerns the forms of the influence of poplar culture on the representations of the Holocaust. Broken image can reveal a part of same event, the same fact. There are intellectual and axiological challenges between revealing and abusing the “Auschwitz” in the contemporary texts of culture. There are three main parts of the article: The contexts of the terms, Opened arguments and How instrumentally where are described the mechanisms of reduction, instrumentalization and mediatization of the reception of the Holocaust.

4

The Spoken Word, the Book and the Image in the Work of Evangelization

44%

Strzelczyk J.

Folia Historica Cracoviensia

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2017

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vol. 23/1

61-76

EN

Little is known about the ‘material’ equipment of the early missionaries who set out to evangelize pagans and apostates, since the authors of the sources focused mainly on the successes (or failures) of the missions. Information concerning the ‘infrastructure’ of missions is rather occasional and of fragmentary nature. The major part in the process of evangelization must have been played by the spoken word preached indirectly or through an interpreter, at least in the areas and milieus remote from the centers of ancient civilization. It could not have been otherwise when coming into contact with communities which did not know the art of reading, still less writing. A little more attention is devoted to the other two media, that is, the written word and the images. The significance of the written word was manifold, and – at least as the basic liturgical books are concerned (the missal, the evangeliary?) – the manuscripts were indispensable elements of missionaries’ equipment. In certain circumstances the books which the missionaries had at their disposal could acquire special – even magical – significance, the most comprehensible to the Christianized people (the examples given: the evangeliary of St. Winfried-Boniface in the face of death at the hands of a pagan Frisian, the episode with a manuscript in the story of Anskar’s mission written by Rimbert). The role of the plastic art representations (images) during the missions is much less frequently mentioned in the sources. After quoting a few relevant examples (Bede the Venerable, Ermoldus Nigellus, Paul the Deacon, Thietmar of Merseburg), the author also cites an interesting, although not entirely successful, attempt to use drama to instruct the Livonians in the faith while converting them to Christianity, which was reported by Henry of Latvia.

PL

Niewiele wiadomo o „materialnym” wyposażeniu misjonarzy wyruszających do pogan czy apostatów, autorzy źródeł bowiem koncentrują się na osiągnięciach (ewentualnie niepowodzeniach) misji. Informacje o „infrastrukturze” misji pojawiają się raczej sporadycznie i mają fragmentaryczny charakter. Największa rola w procesie ewangelizacji, przynajmniej na obszarach i w środowiskach oddalonych od ośrodków cywilizacji antycznej, musiała przypaść żywemu słowu, głoszonemu bezpośrednio lub za pośrednictwem tłumaczy. Nie mogło być inaczej w obliczu społeczności nieznających sztuki czytania, tym bardziej pisania. Nieco więcej uwagi mam zamiar poświęcić dwom pozostałym mediom: słowu pisanemu i obrazom. Znaczenie pisma w procesie ewangelizacji było różnorakie, było ono, przynajmniej w elementarnym zakresie (mszał, ewangeliarz?), niezbędnym elementem wyposażenia misjonarza. W pewnych okolicznościach księgi znajdujące się w dyspozycji misjonarza mogły nabierać znaczenia szczególnego, nawet magicznego, najbardziej zrozumiałego dla chrystianizowanych (przykłady: ewangeliarz św. Winfryda-Bonifacego w obliczu śmierci z ręki pogańskiego Fryza, epizod z księgą w opowieści o misji Anskara pióra Rimberta). O wiele rzadziej źródła wspominają o roli wyobrażeń plastycznych (obrazów) w trakcie misji. Po przedstawieniu kilku przykładów z tego zakresu (Będą Venerabilis, Ermoldus Nigellus, Paweł Diakon, Thietmar z Merseburga), autor przypomniał jeszcze interesującą, zanotowaną przez Henryka Łotysza, choć niezupełnie udaną próbę wykorzystania sztuki teatralnej dla pouczenia w wierze aktualnie chrystianizowanych Liwów.

5

Metaphorizing the Holocaust: The Ethics of Comparison

44%

Webber M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 8

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issue 15-16

1-30

EN

Metaphorizing the Holocaust: The Ethics of Comparison This paper focuses on the ethics of metaphor and other forms of comparison that invoke National Socialism and the Holocaust. It seeks to answer the question: Are there criteria on the basis of which we can judge whether metaphors and associated tropes “use” the Holocaust appropriately? In analyzing the thrust and workings of such comparisons, the paper also seeks to identify and clarify the terminology and concepts that allow productive discussion. In line with its conception of metaphor that is also rhetorical praxis, the paper focuses on specific controversies involving the metaphorization of the Holocaust, primarily in Germany and Austria. The paper develops its argument through the following process. First, it examines the rhetorical/political contexts in which claims of the Holocaust’s comparability (or incomparability) have been raised. Second, it presents a review (and view) of the nature of metaphor, metonymy, and synecdoche. It applies this framework to (a) comparisons of Saddam Hussein with Hitler in Germany in 1991; (b) the controversies surrounding the 2004 poster exhibition “The Holocaust on Your Plate” in Germany and Austria, with particular emphasis on the arguments and decisions in cases before the courts in those countries; and (c) the invocation of “Auschwitz” as metonym and synecdoche. These examples provide the basis for a discussion of the ethics of comparison. In its third and final section the paper argues that metaphor is by nature duplicitous, but that ethical practice involving Holocaust comparisons is possible if one is self-aware and sensitive to the necessity of seeing the “other” as oneself. The ethical framework proposed by the paper provides the basis for evaluationg the specific cases adduced.

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2 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Folia Historica Cracoviensia

1 Human and Social Studies

1 Seminare. Poszukiwania naukowe

1 2017

1 2016

1 2013

2 2011

1 Hastings V.

1 Kaźmierczak M.

1 Ralph S.

1 Strzelczyk J.

1 Webber M.

Recalculating the White Page-GPS Love in Comme dans un film des frères Coen

Do we really want to include disabled people in society?

Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture

The Spoken Word, the Book and the Image in the Work of Evangelization

Metaphorizing the Holocaust: The Ethics of Comparison