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On the Verge of the (Un)Known: Zero Hour by Ray Bradbury and the Paintings of René Magritte

100%
Kwiatkowska A.
Zagadnienia Rodzajów Literackich
|
2016
|
vol. 59/118 z. 2
9-29
EN
The article discusses the correlation of ambience in Ray Bradbury’s science fiction short story Zero Hour and the paintings by a well-known Belgian Surrealist René Magritte. It specifies first the influences of Scuola Metaphysica on creating the specific poignant atmosphere visible in the works of the painter and then focuses on pointing out similar notions in the short story by Bradbury. Next, the article analyses the techniques, employed by both the artist and the writer, that help to create the above-mentioned mood. The focus is predominantly on Bradbury’s narrative where the linguistic level as well as the visual one are considered and then the analysis follows in relation to such mechanisms as contrast, juxtaposition, non sequitur or dépaysement.
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La poésie silencieuse d’Henri Michaux à René Magritte ou quand le poème se substitue en tableau

94%
Bouraoui Mabrouk I.
Quêtes littéraires
|
2015
|
issue 5
129-137
FR
Henri Michaux, Paul Klee and René Magritte enroll in a interdisciplinary perspective where painting looks as poem and vice versa. Correspondence between writing and painting defies taxonomy of the pictorial and scriptural in order to establish a new trans-esthetic approach. Painting interpretations show that poetry writing and pictorial articulate two tactics for the same strategy: auscultate the problem of being.
3

Zmysły jako dekoder rzeczywistości. Drzazga Władimira Zazubrina i malarstwo René Magritte’a

84%
Waligórska-Olejniczak B.
Slavica Wratislaviensia
|
2014
|
vol. 158
249 - 258
EN
The aim of the article is to discuss two texts of culture, i.e. Vladimir Zazubrin’s Splinter and René Magritte’s painting from the point of view of senses — in particular eyesight — which seem to rule the artistic world presented in both works of art. The text focuses not only on the analogies between fictional patterns which can be observed there, but also on stylistic means used in the works (multiplication, colour repetition, reification, etc.) as well as similar motifs and symbols. We come to the conclusion that both texts utilize tools which are associated with surrealism, revealing deep philosophical and psychological levels, therefore they cannot be categorized as the texts addressing only social and political questions.
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