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Kinowa materialność teorii. Deleuze i Jacques Rivette

100%
Waligóra A.
Forum Poetyki
|
2021
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issue 23
92-109
EN
The article analyzes post-structural theoretical perspectives in analogies to the construction of films. According to Gilles Deleuze, supported by an interpretation of the works by Lewis Carroll, a functional lack is a key element of every system, as it activates and dynamizes that system, motivating the recipients to undertake cognitive activity. Hence fiction and related analyses and interpretations work according to the same rule – they are “a hunt for meaning”. This hypothesis is supplemented by an observation made on the basis of a New Wave film by Jacques Rivtte, Out 1, regarding the reflexive “detexcentralization” and “materialization” of theory in the cinema.
PL
Artykuł jest próbą analizy perspektyw obejmowanych przez teorię poststrukturalną w analogii do konstrukcji dzieła filmowego. Zgodnie z myślą Gilles’a Deleuze’a, wspieraną interpretacją dzieł Lewisa Carrolla, najważniejszym elementem każdego systemu jest funkcjonalny brak, który ów system aktywizuje i dynamizuje, motywując odbiorców do czynności poznawczych. Tym samym dzieła fabularne i towarzyszące im akty analizy i interpretacji działają na podobnej zasadzie – okazują się „ściganiem sensu”. Hipoteza ta wzbogacona zostaje przez obserwację – dokonaną na podstawie nowofalowego filmu Jacques’a Rivette’a Out 1 – dotyczącą zwrotnego „detekstocentryzowania” i „materializowania” teorii przez dzieła kinowe.
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What is a "Sebastian"?: A nonsensical look at the poetry of Yona Wallach

99%
Porat A.
The European Journal of Humour Research
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2017
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vol. 5
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issue 3
EN
This article compares the nonsense works of Lewis Carroll to the poetry of the canonical Hebrew poet Yona Wallach. Both writers present literary works which are not based on the logic of 'ordinary' reality, but rather on systems of unfamiliar, surreal and 'dreamlike' logic. However, Carroll's logical nonsense is famously comical and playful in nature. Unlike him, Yona Wallach's poetry is mostly regarded as 'serious', even tragic, with a 'doom-like' atmosphere hovering over it. Nonetheless, and precisely because of their considerable dissimilarity, the comparison between Yona Wallach and Lewis Carroll discloses their surprising similarity. In this artiel will examine two mechanisms in which they both play with the conventional meanings of words and use them incongruously, non-commonsensically.Throughout this article, Carroll reveals his serious and gloomy face whereas Wallach reveals her (hardly spoken of) logical and amused face.Thus, the contrasts between the comically playful accuracy of Carroll's work and Wallach's ambiguous and mostly "dark" poetry, sheds light on their respective mechanisms of signification and humor-making, in a manner indiscernible when each is treated in isolation.
3
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Czytając Alicję w Krainie Czarów Lewisa Carrolla w surrealistycznym zwierciadle Anthony’ego Browne’a.

98%
Sikorska M.
Porównania
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2016
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vol. 19
200-208
EN
The paper analyses Anthony Browne’s illustrations for Alice’s Adventures in Wonderland by Lewis Carroll. Browne’s images, rooted in and indebted to surrealist painting (especially the art of René Magritte), show manifold relations between the formal qualities and social questions of surrealism and Carroll’s novel. In his illustrations Browne employs numerous optical games and illusions to undermine the traditions of the gaze and visual perception, and thus, in a way, he equates the visual methods of surrealism with those used by Carroll in Alice.
PL
Artykuł analizuje ilustracje Anthony’ego Browne’a do powieści Lewisa Carrolla Alicja w Krainie Czarów. Browne, bardzo silnie nawiązując do malarstwa nurtu surrealizmu (zwłaszcza do twórczości René Magritte’a), wydobywa z powieści Carrolla jej surrealistyczny charakter. Poczynając od wykorzystania złudzeń i gier optycznych, aż po dogłębną analizę pułapek związanych w tradycjami postrzegania wzrokowego, ukazuje powinowactwo pomiędzy Alicją i tym nurtem w sztuce zarówno w warstwie formalnej (językowej), jak i społecznej (swoboda działania jednostki, relacje międzyludzkie).
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POMIĘDZY MAGIĄ BAŚNI A SZEREGIEM SKOJARZEŃ, CZYLI KOGO SPOTKAŁA ALICJA W KRAINIE CZARÓW

98%
Seweryn A. M.
Porównania
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2017
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vol. 20
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issue 1
EN
This paper focuses on the issues of translating personal proper names in Polish versions of Lewis Carroll’s novel “Alice’s Adventures in Wonderland”. The main intention of this work is to present cultural connotations of names invented by the author and describe their specificity and significance. It is also an attempt to analyze translation strategies applied in the texts to explain possible reasons for the translators’ decisions. The basic corpus consists of an original version of the novel with the footnotes made by Martin Gardner and four new Polish versions of “Alice...”, issued after 1990.
PL
Niniejszy artykuł skupia się na tematyce przekładu na język polski wybranych osobowych nazw własnych w powieści Lewisa Carrolla pt. Alicja w Krainie Czarów. Głównym celem pracy jest pokazanie konotacji kulturowych oraz etymologii nazw stworzonych przez autora, a więc zaprezentowanie ich specyfiki oraz nierzadko bardziej złożonego znaczenia. Artykuł stanowi również próbę analizy wybranych przez polskich tłumaczy strategii tłumaczeniowych pod kątem zgodności znaczeniowej z oryginałem. Podstawowy korpus badawczy składa się z oryginalnej angielskiej wersji książki z przypisami Martina Gardnera oraz czterech wydanych po 1990 roku przekładów na język polski.
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Alice’s Adventures in Scienceland

86%
Bilban T.
Libri & Liberi
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2015
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vol. Vol 4
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issue 4.2
313-340
EN
Lewis Carroll based much of his nonsense humour and curious themes in Alice’s Adventures in Wonderland and Through the Looking-Glass on his expertise in logic and mathematics. Years after the books were written, Alice, under the guidance of new authors, is experiencing new adventures in different regions of Scienceland, from Quantumland to Computerland. Situations, characters and concepts from Carroll’s books on Alice are often reused in different scientific fields to illustrate scientific phenomena. Alice has become an archetype placeholder name for experimentalists in physics and cryptology. Carroll’s books on Alice have been adopted by the scientific community and it seems that, although it is characteristic for science to keep changing, Alice’s adventures in Scienceland are here to stay.
HR
Velik dio nonsensnoga humora i začudnih tema u djelima Aličine pustolovine u Zemlji Čudesa i S onu stranu zrcala nadahnut je Carrollovim vrsnim poznavanjem logike i matematike. Godinama nakon nastanka spomenutih romana, u rukama novih autora, Alica doživljava nove pustolovine u raznim dijelovima Znanstvozemske: od Kvantozemske do Računalozemske. Situacije, likovi i pojmovi iz Carrollovih knjiga o Alici često se iznova rabe u raznim znanstvenim područjima u svrhu ilustriranja znanstvenih pojava. Sama Alica postala je arhetipskim imenom za ispitanike u fizici i kriptologiji. Iako su neprestane mijene jedna od odlika znanosti, jedna se stvar zacijelo neće promijeniti: junakinja Carrollovih romana, koje je znanstvena zajednica dobro prihvatila, i dalje će doživljavati pustolovine u Znanstvozemskoj.
DE
Zahlreiche Bespiele des Nonsens-Humors sowie eine Unmenge an sonderbaren Ereignissen aus den Werken Alice in Wunderland und Alice hinter den Spiegeln scheinen auf Carrolls ausgezeichneten Kenntnissen aus dem Bereich der Logik und der Mathematik zu beruhen. Noch jahrelang nach der Romanentstehung erlebt Alice unter den Händen anderer Autoren in unterschiedlichen Teilen des Wissenschaftslandes − von dem Quantenland bis hin zum Computerland − neuartige Abenteuer. Situationen, Gestalten und Begriffe aus Carrolls AliceBüchern werden in zahlreichen wissenschaftlichen Bereichen immer wieder verwendet, um dadurch wissenschaftliche Begriffe zu illustrieren. Alice wurde sogar zum archetypischen Namen für Experimentatoren im Bereich der Physik und Kryptologie. Ist auch der stete Wandel eines der Merkmale der Wissenschaft, eines wird sich gewiss nie ändern: Einmal in der wissenschaftlichen Gemeinschaft gut aufgenommen, wird Carrolls Romanheldin in Wissenschaftsland auch weiterhin zahlreiche Abenteuer erleben.
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’Twas Brillig: Two Children and Alice

86%
Lowe V.
Libri & Liberi
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2015
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vol. Vol 4
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issue 4.2
415-430
EN
This paper is a case study of two children’s responses to Lewis Carroll’s and John Tenniel’s Alice books. Their encounters with the stories were recorded for a period of eleven years. The thoughts and concerns inspired by the books demonstrate the children’s interpretive abilities as they sometimes raise serious philosophical issues. Based on the collected data it is argued that the children’s understanding and philosophical ability can be revealed in their response to literature. The findings support the notion that children’s capacity for abstract thinking should not be underestimated.
HR
U radu se istražuju reakcije dvoje djece na knjige o Alici Lewisa Carrolla i Johna Tenniela. Njihovi susreti s tim djelima bilježeni su tijekom jedanaest godina. Misli i bojazni izazvane knjigama pokazuju interpretativne sposobnosti djece, koja ponekad progovaraju o ozbiljnim filozofskim pitanjima. Na temelju prikupljenih podataka u radu se tvrdi da dječje reakcije na književnost upućuju na njihovu razinu razumijevanja sadržaja i njihove filozofske sposobnosti. Zaključci potvrđuju stajalište da ne treba podcjenjivati dječju sposobnost apstraktnoga mišljenja.
DE
Im Beitrag werden die Reaktionen zweier Kinder auf die Alice-Bücher von Lewis Carroll und John Tenniel erforscht. Die Begegnungen der Kinder mit dem angeführten Erzählgut wurden in einer Zeitspanne von elf Jahren protokolliert. Die durch das Buch hervorgerufenen Gedanken und Ängste weisen auf Deutungsfähigkeiten der Kinder hin, aus denen manchmal auch ernst zu nehmende philosophische Fragen hervorscheinen. Anhand der protokollierten Daten ist zu behaupten, dass die hier vorgestellten Reaktionen der Kinder auf ihr Verständnis von literarischen Werken sowie auf ihre philosophischen Fähigkeiten hinweisen. Die im Beitrag präsentierten Schlussfolgerungen scheinen die Meinung zu unterstützen, wonach man die Fähigkeit der Kinder, abstrakt zu denken, nicht unterschätzen sollte.
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Alice in the Land of Movies

86%
Ismajloska M.
Libri & Liberi
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2014
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vol. Volume 3
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issue No.2
311-318
EN
The paper focuses on Tim Burton’s movie adaptation of the Alice books by Lewis Carroll. The distinction between the magical and the fantastic, and the miraculous and the wonderful that is resolved within the movie Alice in Wonderland (2010), carried within the infant nature present in Tim Burton’s grown-up Alice, redefines the standpoints of the fantastic, making child’s fantasy a literary-screen reality. In both cases, the frames of the fantastic, starting from a hint of the fictional and the wonderful, make a crossover towards the miraculous. According to Roger Caillois (1972), the fantastic expresses a scandal, a break, a strange, almost unbearable, penetration into the real world, and with its penetrations of the other side into the real world, it transforms itself into a poetics of the miraculous.
HR
Analizira se uradak Tima Burtona, filmska adaptacija knjiga o Alici Lewisa Carrolla. Razlikovanje čarobnoga i fantastičnoga, kao i čudotvornoga i čudesnoga koje se razrješuje u samome filmu Alice in Wonderland (2010), sadržano u dječjoj naravi odrasle Alice Tima Burtona, redefinira polazišta fantastičnoga, čineći dječju fantastiku književno-filmskom stvarnošću. I u književnoj i u filmskoj pripovijedi okviri fantastičnoga, polazeći od naznaka fikcionalnoga i čudesnoga, čine prijelaz prema čudotvornome. Prema Rogeru Cailloisu (1972), fantastično izražava skandal, raskid, čudno, gotovo nepodnošljivo prodiranje u stvarni svijet, a u tome prodiranju druge strane u stvarni svijet on se preobražava u poetiku čudotvornoga.
DE
Im Beitrag wird Tim Bartons Verfilmung von Lewis Carrolls Alice-Büchern besprochen. Die im Film Alice in Wonderland (2010) aufgelöste und in der Kindernatur von Bartons erwachsenen Alice enthaltene Unterscheidung zwischen dem Magischen und dem Fantastischen, dem Wunderbarem und dem Wundersamen, bestimmt aufs Neue die Standpunkte des Fantastischen, weil im Film die Kinderfantasie in literarisch-filmische Wirklichkeit verwandelt wird. In beiden Medien bilden die Rahmen des Fantastischen den Übergang zum Wunderbaren, indem sie die Spuren des Fiktionalen und des Wundersamen verfolgen. Laut Roger Caillois (1972) drückt das Fantastische einen Skandal aus, einen Bruch, ein befremdendes, beinah nicht auszuhaltendes Vordringen in die wirkliche Welt, wobei dann durch das Vordringen der anderen Seite in die wirkliche Welt diese zur Poetik des Wunderbaren umgewandelt wird.
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Wordplay in selected Polish translations of "Alice’s Adventures in Wonderland" by Lewis Carroll

85%
Smoleńska A.
Crossroads. A Journal of English Studies
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2013
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issue 2
58-71
EN
This article presents the results of a comparative analysis of the translations of wordplay in selected Polish renderings of "Alice’s Adventures in Wonderland" by Lewis Carroll. So far, there have been 10 attempts to translate this book into Polish. The present paper looks at the techniques employed by three translators: Antoni Marianowicz (1955), Maciej Słomczyński (1965), and Bogumiła Kaniewska (2010), though occasionally reference is also made to other renditions of the book. "Alice’s Adventures in Wonderland" is particularly rich in wordplay, which is why rendering it into a foreign language is a real challenge. Słomczyński and Marianowicz tried to preserve most of the puns used by Carroll or replace them with new ones, while Kaniewska’s translation is much more literal and, in consequence, it fails to convey the ambiguity and comic effect of the original.
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On the Hermeneutic Ontology of Language in Alice’s Adventures in Wonderland and its Latest Polish Retranslation

85%
Piecychna B.
Crossroads. A Journal of English Studies
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2017
|
vol. 18
EN
In 2015, the latest retranslation of Alice’s Adventures in Wonderland, produced by Grzegorz Wasowski, appeared on the Polish book market. As the translator explained in his afterword (Wasowski 2015: 159-173), the main aim of producing a new translation was to render the idea of the source text and to avoid word-for-word translation. Wasowski intended to render the so-called ‘English spirit’ contained within the original version by means of the richness of the Polish language. And although Wasowski accentuated the necessity for adapting a language to the wealth of human imagination, at the same time he claimed that the whole process must be completed moderately, within particular linguistic bounds. The main objective of this paper is to analyse whether the latest retranslation of Alice’s Adventures in Wonderland meets the fundamental requirements specified by its translator, that is, whether the version renders the ‘spirit’ of the source text and whether the attempts which have been made might be referred to as moderate. The facets and dimensions of language depicted by Lewis Carroll are illustrated as juxtaposed against Hans-Georg Gadamer’s ontology of language. Finally, the idea of so-called ontological parallelism is put forward, which stands for another type of equivalence, a key notion in the theory of translation.
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Some uffish thoughts on the Swedish translations of “Jabberwocky”

85%
Sundmark B.
The European Journal of Humour Research
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2017
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vol. 5
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issue 3
EN
In this article the “translatability” (and/or untranslatability) of nonsense is addressed. For this purpose, five Swedish versions of Lewis Carroll’s nonsense poem “Jabberwocky” from Lewis Carroll’s Through the Looking-Glass (1871) are examined: the vocabulary, the syntax, the metre and rhythm, as well as the poem’s contextual framing, here mainly understood as the narrative in which Jabberwocky is embedded. Attention is also paid to the generic and stylistic context of the poem, and the corpus of Swedish translations. Such an exegesis is warranted by the status of Jabberwocky both as a seminal work of nonsense and as a translation showpiece. Influential critics, from Elizabeth Sewell (1952) to Jean-Paul Lecercle (1994) have used Jabberwocky as a key nonsense text. And even when it is to question whether Jabberwocky is a good example or not – Michael Heyman, for instance, argues that Jabberwocky is something of an “outlier” in the realm of nonsense since its nonsense is linguistic rather than logical (2015) – it remains a defining nonsense text. Moreover, it also a pivotal text in translation history. Indeed, because of the perceived difficulties in translating it, Jabberwocky has rightfully been called “the holy grail of translation” (Heyman 2015), something that is borne out by the large number of studies devoted to it, such as Orero Pilar’s 2007 monograph of several Spanish versions of Jabberwocky. What I bring to this critical discussion is empirical material that has not been brought to light before (the Swedish translations), and a new perspective. 
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Alica u Zemlji Čudesa kao susretište književnosti i medicine i kao poticaj medicinskomu nazivlju

80%
Slunjski K.
Libri & Liberi
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2015
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vol. Vol 4
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issue 4.2
341-355
HR
U radu se prikazuje interakcija dvaju naizgled nepovezanih područja – književnosti i medicine. Iako je navedena interferencija ponekad teže zamjetljiva, prisutna je u mnogim književnim djelima, pa i u fantastičnoj priči Alica u Zemlji Čudesa Lewisa Carrolla. Prvi dio rada usredotočen je na simptome objedinjene pod nazivom „sindrom Alice u Zemlji Čudesa“. Priča je potaknula znanstvenike na imenovanje određene skupine medicinskih simptoma imenom protagonistice Carrollova djela upućujući na veze pojedinih medicinskih stanja i Aličine čudesne zgode. Drugi dio rada razmatra zagonetnost Carrollova poticaja za stvaranje takve fantastične priče i moguć utjecaj medicinskih fenomena na neke aspekte romana. Nije posve jasno duguje li Carroll inspiraciju dijelom i svojemu zdravstvenomu stanju i borbi s migrenama ili su na njegov rad utjecale halucinacije uzrokovane halucinogenima s obzirom na to da postoji pretpostavka da je konzumirao halucinogene droge. Sigurno je, međutim, da Alica u Zemlji Čudesa predstavlja dodirnu točku medicine i književnosti.
EN
The paper aims to show the interaction between two seemingly unrelated areas: literature and medicine. Although the above-mentioned connection is sometimes hard to notice, it is present in many literary texts, including Lewis Carroll’s fantasy story Alice in Wonderland. The first part of this paper focuses on the symptoms commonly referred to as the Alice in Wonderland Syndrome. The story inspired scientists to name a specific group of medical symptoms after Carroll’s protagonist, thus pointing to the connection between certain medical conditions and Alice’s wondrous adventures. The second part of the paper considers the inscrutability of Carroll’s inspiration to create this type of fantasy story, as well as the possible influence of medical phenomena on some aspects of the novel. It is not quite clear whether Carroll drew some of the inspiration for his writing from his health condition (his struggles with migraines) or hallucinations caused by hallucinogenic drugs he allegedly consumed. One thing remains certain: Alice in Wonderland presents a meeting point between medicine and literature.
DE
Im Beitrag wird auf die Interaktion innerhalb zweier scheinbar nicht verbindbarer Bereiche – der Literatur und der Medizin – eingegangen. Obwohl es sich um eine manchmal nicht so leicht identifizierbare Interaktion handelt, ist diese in mehreren literarischen Werken vorhanden, so auch in der fantastischen Geschichte Alice im Wunderland von Lewis Carroll. Im Mittelpunkt des ersten Beitragsteils steht eine Reihe von Symptomen, die man unter der Bezeichnung „Alice-im-Wunderland-Syndrom“ zusammengefasst hat. Die Alice-Geschichte hat die Wissenschaftler nämlich dazu bewegt, eine bestimmte Zahl von medizinischen Symptomen nach dem Namen der Gestalt aus Carrolls Werk zu benennen, wodurch auf die Zusammenhänge zwischen bestimmten klinischen Zuständen und der wunderbaren Erlebnisse von Alice hingewiesen wird. Im zweiten Teil des Beitrags werden Carrolls Beweggründe zur Gestaltung solcher fantastischen Geschichten sowie die möglichen Einwirkungen medizinischer Phänomene auf einige Romanaspekte besprochen. Es scheint nicht völlig klar zu sein, ob Carroll die Inspiration dafür teilweise seinem Gesundheitszustand bzw. seinem Kampf mit der Migräne verdankt, oder wirkten auf seine Arbeit die durch Opiate verursachten Halluzinationen, da es Vermutungen gibt, dass er Rauschgift nahm. Eines ist aber gewiss: Alice im Wunderland weist Bezugspunkte nicht nur zur Literatur, sondern auch zur Medizin auf.
12
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„Who are you?” Wokół fundamentalnych pytań o tożsamość – na podstawie Alicji w Krainie Czarów Lewisa Carrolla

70%
Kurzeja B.
Ogrody Nauk i Sztuk
|
2015
|
issue 5
146-150
PL
„Dziwna baśń” napisana przez angielskiego matematyka od lat inspiruje twórców literatury i sztuki. Fundamentalne pytanie opowieści brzmi: „Kim jesteś?” Te słowa nie tyle budzą lęk, co zmuszają czytelnika do refleksji, która ma ścisły związek z kontekstem filozoficznym, socjologicznym oraz tzw. pytaniami egzystencjalnymi. Artykuł jest zatem propozycją lektury pod kątem poszukiwania własnej tożsamości przez dziewczynkę w baśniowym świecie. Rozpatrywana w tych kategoriach powieść Carrolla staje się jedną z najważniejszych książek na świecie, które poruszają tę kwestię.
EN
A "strange tale" written by an English mathematician has inspired creators of literature and art for years. The fundamental question posed by the story is: "Who are you?" These words do not so much evoke anxiety as force the reader to philosophical and sociological and existentual reflection. From this point of view, Carroll's story constitutes one of the most important books in the world dealing with these issues. This article proposes that the book should be read as a search for our own identity, in the shape of a little girl lost in a fairy-tale world.
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