Search results

1

Istočnie greh Ljubomira Micicia oraz Adam i Eva Miroslava Krležy – dwa modele antropocentryzmu w dramacie ekspresjonistycznym

100%

Cielesta A.

Pamiętnik Słowiański

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2010

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vol. 60

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issue 1

3-20

EN

The aim of the text is to present two chosen literary visions based on the biblical myth about the creation of the world. The paper intends to investigate the archetypical images of masculinity and femininity in the Serbian and Croatian dramaturgy of the period of expressionism and to analyze the dramas from the perspective of history of literature and anthropology. The original sin is presented the The Eastern sin by Ljubomir Micić as the necessary condition to recognize the own divine power of the man who becomes the conscious creator of new existences. The main characters in The Adam and Eve by Miroslav Krleža are one of the first archetypical couples of antagonists in the writer’s works, and also the symbol of the eternal, unsolved sex conflict. The expressionism, placing the man in the centre of the interest, describes all his ambitions, instincts and emotions on various ideological and esthetical ways.

2

„Die Offenbarung des Johannes“ in expressionistischer Auslegung

100%

Hartmann R.

Colloquia Germanica Stetinensia

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2011

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issue 19

57-69

EN

Expressionism was simply predestined to the reception of The Book of Revelation by virtue above all of a very strongly developed belief which was spreading from the beginning of the 19th century that the European culture was in crisis. This belief contributed to a conception of the everyday life suffering in connection with the prophesied Apocalypse.

3

Expressionismus und jüdische Identität. Jakob Steinhardt zwischen Kunst und Religion

80%

Pekárková E.

Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

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2023

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vol. 31

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issue 1

119-142

EN

In the last twenty years, the method of the so-called cultural transfers in the context of Jewish studies shows itself as very helpful, especially in the research of Jewish identity and cultural processes in general. The following article uses this method and the example of the well-known German- -Jewish painter and graphic artist Jakob Steinhardt, and the artists from his environment to examine the relationship between Expressionism and Jewish identity and their origins. The individual connections between the artists are analysed as well as their works and the reflection in the Zionist press.

4

Ekspresjonizm to gra... Ale właściwie, czemu nie? Mabuseria, czyli eksperyment w "Mocnym człowieku" Henryka Szaro.

80%

Korczarowska-Różycka N.

Kwartalnik Filmowy

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2015

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issue 89-90 Redefinicje klasyki

306-319

PL

Artykuł został poświęcony analizie filmu Henryka Szaro Mocny człowiek (1929) w kontekście zjawiska ekspresjonizmu filmowego. Autorka podejmuje próbę odpowiedzi na pytanie, czy w dominującym w okresie dwudziestolecia międzywojennego modelu kinematografii „zorientowanej na odbiorcę” (który w powszechnej świadomości odbiorczej jest kojarzony raczej ze Stefcią Rudecką, a nie Caligarim) było możliwe podejmowanie radykalnych eksperymentów artystycznych. Oczywistym wątkiem, który musiał pojawić się w toku wywodu, jest analiza wpływu na rodzimą kinematografię (i krytykę filmową) omawianego okresu kanonicznych dzieł z obszaru tzw. kina weimarskiego (ze szczególnym uwzględnieniem Doktora Mabuse Fritza Langa).

EN

The article is devoted to the analysis of Henryk Szaro’s film "The Strong Man" (1929) in the context of film expressionism. The author attempts to answer the question whether radical artistic experiments were possible in the inter-war period of cinema “focused on the viewer” (who in the collective consciousness was associated with Stefcia Rudecka, a tragic heroine of a kitsch, though extremely popular romantic novel and film, rather than Caligari). The obvious theme that had to appear in the author’s line of argument is the analysis of the impact of canonical works of the Weimar cinema of the period (particularly Fritz Lang’s "Doctor Mabuse").

5

Rosja, kobieta, ekspresja… O strategiach wyparcia Innego w tłumaczeniu Życia o. Wasyla Leonida Andriejewa

70%

Rozwadowska K.

Między Oryginałem a Przekładem

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2015

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vol. 27

41-55

EN

The article presents a comparative analysis of two Polish translations of Leonid Andreev’s short story Жизнь Василия Фивейского, made by: Stanislawa Kruszewska (Żywot Bazylego Fiwejskiego) and Henryk and Jan Zbierzchowski (Życie o. Wasyla / Ojciec Wasyl z Teb). The aim of the comparison is to describe numerous types of manipulation strategies used by Zbierzchowski brothers in order to adjust the story to the norms of target culture. The changes in their translation are related to cultural, aesthetic and gender “strangeness”, which has been removed from the text. In the Author’s opinion, most of the assimilating strategies used by translators should be analyzed in the context of Henryk Zbierzchowski’s literary works.

6

The City through the Eyes of Expressionism

70%

Demčišák J.

Ethnologia Actualis

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2016

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vol. 16

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issue 1

79-96

EN

The process of industrialization and urban growth and the development of cities in the first three decades of the 20th century are inevitably related to rapid social changes. The new attitude to life, which corresponds to this process, affected the aesthetic perception and the work of artists as well. The study shows the sensitiveness of German expressionism to the dynamics, drive and chaos of the new city life. The expressionistic picture of the city is clearly ambivalent; it oscillates between fascination on the one hand and antipathy on the other. Expressionism also reflects the social alienation and the feeling of being lonely in a crowd as new phenomena of the 20th century.

7

TORTURE ON STAGE: PETER ZADEK’S STAGING OF MEASURE FOR MEASURE

70%

Schwartz-Gastine I.

Gender Studies

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2013

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vol. 12

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issue 1

112-125

EN

In his 1991 French production of Shakespeare’s Measure for Measure, the fourth of his career, German director Peter Zadek amplified the low-life scenes, first in the streets of Vienna and also in the prison, where he presented Pompey, the tapster-pimp turned apprentice executioner, as being as fully involved in his new job as he had been previously in the streets of Vienna under Mistress Overdone’s orders: now he is chopping up and sawing up naked females on stage. This paper will present some of the aspects of this expressionist sado-masochist version of the play, and discuss its legitimacy.

8

Дослідження експресіонізму в сучасному українському літературознавстві

70%

Radavska O.

Studia Ucrainica Varsoviensia

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2017

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vol. 5

243-251

PL

The article refers to the work of Ukrainian researchers devoted to expressionism, such as O. Chernenko, M. Moklytsi, A. Biloi, O. Osmak, G. Yastrubetskoyi and others. It defi nes the main directions of research and characterizes researchers by their theoretical concepts, focusing on the names of the writers who are called the representatives of Ukrainian literary expressionism. Attention is paid to the fact that the theories may often be similar but researchers represent diff erent series of names and works. This requires further development of the theory of expressionism and the Ukrainian literature study in this aspect.

9

Lothar Schreyer a sztuka sceniczna ekspresjonizmu

70%

Berghaus G., Lukas K.

Pamiętnik Teatralny

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2019

|

issue 1(269)

22-37

EN

Expressionism as art movement was a primarily German phenomenon. The expressionist theatre begun and flourished in the Weimar Republic where the style lasted until about 1924, contributing to the rise of a truly modern form of dramatic art in Germany. The first example of expressionist drama was the play Mörder, Hoffnung der Frauen by the painter Oskar Kokoschka, who staged its Vienna première on 4 July 1909. Lothar Schreyer (1886–1966) chose another path of expressionism, grounded in mysticism and spirituality. While Kokoschka’s Viennese production was the work of an absolute theatrical outsider, Schreyer had a thorough professional education in this field. In 1916–1921, he devoted himself to the creation of a completely new form of scenic art and founded two theatre companies in which he could consistently pursue his utopian goals. Schreyer saw the theatre as a metaphysical institution that could give an insight into the harmony and magic of the cosmos, which would enable to distance oneself from “a past man”.

10

Cris des cœurs de Jean-Victor Pellerin, exemple d’une pièce hybride

70%

Kaczmarek T.

Quêtes littéraires

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2016

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issue 6

65-73

EN

Cris des cœurs by Jean-Victor Pellerin consists of the three parts, each of them corresponds to a different genre: melodrama, tragedy and misterium. Rejecting the reality, the writer resignes also from the scene’s materiality what leads him as a consequence to the deconstruction of the space-time’s categories. Traditional drama’s division on act and scenes is replaced by the loose images (tableaux) where the dreamy visions mingle with reality. Puting the pressure on oniric dimension of a play, the playwright prepares the area for a break of characters who moving in a hostile and an unspecified world without the laws of physics, get going in quest for the lost identity. Breaking the unity of action and psychological consistency of a character, Pellerin presents the crisis of a temporary human being, moreover by using heterogenic forms, he shows this crisis in ist best.

11

Mężczyzna i jego upiory Henri-René Lenormanda, przykład dramatu stacyjnego

70%

Kaczmarek T., Uniwersytet Łódzki W. F., Tomasz Kaczmarek – dr hab. prof. UŁ w Katedrze Filologii Romańskiej d. n. h. u. P. I. S. J. z. t. n. o. p. w. l. f. i. w. X. w., tkn@wp.eu

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2014

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vol. 03

EN

L’Homme et ses fantomes by Henri-René Lenormand is one of the most expressionist pieces of the French writer, today already forgotten. Inspired by the works of August Strindberg, the author of the drama explores new ways of expression. The analysed work is an example of a stationplay, which was the favourite form of expressionist playwrights.

PL

Mężczyzna i jego upiory Henri-René Lenormanda jest jedną z najbardziej ekspresjonistycznych sztuk tego dzisiaj zapomnianego już pisarza francuskiego. Zainspirowany twórczością Augusta Strindberga, autor dramatu poszukiwać będzie nowych dróg ekspresji. Analizowany utwór jest przykładem dramatu stacyjnego, który będzie ulubioną formą dramatopisarzy ekspresjonistycznych.

12

Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki

70%

Pieniążek-Marković K.

Poznańskie Studia Slawistyczne

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2020

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issue 18

173-193

EN

In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.

13

Oniryczne ekspresje w "Sonatach Mol" Marii Grossek-Koryckiej

61%

Poleszak N.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2015

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issue 4/2015 O Młodej Polsce mniej znanej

103-120

EN

The article focuses on the literary aspect of dream in Maria Grossek-Korycka's Sonaty mol. The poetics of dream is realized within selected works in the series through the use of the word 'sen' ('dream') or by introducing a romantic encrustation aura. The term 'senne ekspresje' ('dreamy expressions'), appearing in the title of this article, indicates a specific way of shaping the imaginative projections. The characteristic properties of the oneiric visions: the aesthetics of contrast, anthropomorphism, handling a wide range of colours, synesthesia as the main means of expression, deformation in the cause-and-effect relationship lead to a dreamy expressionist technique in the context of the individual sonatas. 'The texts' of verbalised phantasma activate an array of symbolic references and analogies. The poet goes back to the tradition of Kabbalah - a dream often manifests itself to the dreaming entity and becomes its peculiar emanation or attribute. This interpretation makes an attempt to read the contents of literary visions and includes the description of the general rules governing the oneirology of The Young Poland poet.

14

In the Old Cinema. Stefan Grabiński and Expressionism

61%

Majewska J.

Nauka

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2020

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issue 4

EN

Stefan Grabiński, a famous Polish author of weird fiction, who is known especially for his collection of short stories Demon ruchu (The Motion Demon, 1919), lived and worked in a period marked by a new artistic style – expressionism. Although Grabiński came from Lviv, often regarded as a province in Poland after the Great War, he could have a contact with the latest ideas concerning art and philosophy. Indeed, both in his short stories and in his novels may be found some traits typical for the expressionist poetics as, for example, a subjective perspective, a color sensitivity or a tendency to violent and dynamic use of formal elements. Grabiński was fascinated by a German literature – he read Gustav Meyrink, E.T.A. Hoffmann and an expressionist magazine “Der Orchideengarten”. Moreover, he liked going to the cinema where he could watch, for example, a famous German expressionist film – The Cabinet of Dr. Caligari. The only text by Grabiński which was adapted into film in his life was a short story Kochanka Szamoty (Szamota’s Mistress, 1922). Although this seemed to be a great material for an expressionist film, the director – Leon Trystan – decided to realize it in an impressionist poetics.

15

The Impact of Historic Events on the Formation of the Creative Method of Ernest Kontratovych in the Early Period (1930s-1940s)

61%

Cheipesh A.

Ikonotheka

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2020

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vol. 30

69-88

PL

The article focuses on the early works of Ernest Kontratovych (1912-2009), one of the founders of the cultural and artistic centre in Subcarpathian Ruthenia. His period of creative formation occurred between the 1930s and the 1940s. At that time, Subcarpathian Ruthenia, as part of the Czechoslovak Republic, suffered from the effects of irregular agrarian reform and the Global economic crisis that has affected all of Europe. The mountainous areas of Verkhovyna, where government action and the crisis have led to poverty and famine, have suffered the most. After graduating from the Uzhhorod Singing and Teaching Seminary (1932), Kontratovych was sent to remote villages in mountainous areas for pedagogical work. There he witnessed the events that led to the choice of themes for his early works. Tragedies, such as the depopulation of villages, famine, and impoverishment of the people of Verkhovyna, and resulted in a picturesque series with images of the disadvantaged people, the cripples, the beggars. These experiences made a lasting effect on Kontratovych’s work. He peculiarly interpreted the theme of war. The lack of images of military activity is compensated by images of war victims – the orphaned children, crippled people, beggars. The study examines Kontratovych’s expressionist style in the context of the tasks perceived by the artist as his responsibilities to recreate and convey to the audience the tragedy of the contemporary situation. Exaggeration and deformation of form, as well as displacement of objects, emphasized the emotional intensity of the works. At the same time, he frequently turned to the daily life of the people of Verkhovyna, which created a counterbalance to these dramatic works. Traditional events such as wedding processions, preparations of the bride, and dances are shown in an optimistic, joyful palette in a similarly expressionist style.

16

Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions

61%

Soliarska-Komarchuk I.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2023

|

issue 8(1)

57-62

EN

The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the peculiarities of ethnomentalities that were formed on the basis of certain archetypes and universals. An important feature of the world transavant-garde is the artists’ appeal to expressionism. There is a rethinking and renewed interpretation of expressionism, which actually gave it the name «neo-expressionism». Considering the reasons why artists from different countries turned to expressionism, it is concluded that it was the analysis of inner experiences and the desire to express them as vividly as possible that caused such a «global» commitment. Closely related to this is the process of creating individual mythologies, which, through certain images (the use of linearism, dissonant color juxtapositions, deviations from the true image, the use of different techniques and materials in one art object), encouraged the viewer to experience certain affects. At the same time, the Ukrainian and Polish artistic systems of the time, as well as social and political life, were closely controlled by the Soviet system. The situation was especially difficult in Ukraine, where alternative views on art could be paid for with imprisonment or even life. However, in both Poland and Ukraine, there were artists who were engaged in aesthetic resistance and belonged to opposition movements such as counterculture and non-conformism. It is under these conditions that neo-expressionism gets its unique forms of development in both Polish and Ukrainian art. The New Expression movement has been developing in Poland since the early 1980s. Artists, turning away from official cultural institutions, spontaneously created alternative structures. The Polish New Expression, which officially declared itself and kept in touch with foreign colleagues, was a legitimate part of the global movement, and martial law did not allow Polish artists to enter the international scene. Using the creative methods of neoexpressionism, the artists fought for political freedom with inspiration. The artists, ridiculing the absurd world around them with the help of grotesque, used simplified composition and strong contrasting colors. Aesthetic resistance in Ukraine was deeply underground. Nonconformist artists could not organize exhibitions or communicate with their foreign colleagues. Therefore, the names of Ukrainian artists were not known to the world, as well as to most of their fellow citizens. Tight control by the authorities influenced the maximum reflection of opposition artists and determined the symbolic and metaphorical language of their works. After all, expressionism was despised and not supported within Soviet art.

17

Le vagabondage moderne dans le théâtre de Henri-René Lenormand

57%

Kaczmarek T.

Quêtes littéraires

|

2014

|

issue 4

76-84

EN

The motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul.

18

Gottfried Benn und die doppelte Staatsgründung 1949 – zu ausgewählten Prämissen seines schwierigen Verhältnisses zu Staat an sich und zum bundesdeutschen (Teil-)Staat

53%

Walkowiak M.

Studia Germanica Posnaniensia

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2016

|

issue 37

263-276

EN

The paper is mainly concerned with Gottfried Benn’s complex attitude to the state and history. By means of introductory prefigurations, such as existential tensions related to the conflict between Protestant ethics and modern aesthetics, there emerges Benn’s difficult and complex relation to the state as such, seen as a product of history, and to its particular examples, starting from the Second Reich until the initial phase of West Germany. Friedrich Nietzsche’s philosophy, and in particular the philosophy of art, is of great importance in this context. This issue is discussed using Benn’s key works such as Roman des Phänotyp or Doppelleben. Benn’s literary and life self-creations played a vital role in his relations with the political reality and the state, which is discussed at the end of this analysis. His ambivalent relation to early West Germany has a strong biographical basis, i.e. his involvement with the history of the Nazi Germany on the one hand, and on the other – the period of his literary fame at the end of his life.

19

Matoš i postmoderna, A.G.M. kao matrix hrvatske književnosti

53%

Rem G.

Poznańskie Studia Slawistyczne

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2014

|

issue 7

EN

The article Matoš and Croatian Postmodernism shows that it was Boro Pavlović (1921–2001), the anticipator and „the father” of Croatian postmodernism, the author of fifty collections of poems and numerous media creations of Walter Benjaminʼs provenance in the 50ʼs (exhibition of poems We in 1942, collection News in 1954, the project-exhibition Encyclopedia poetica in 1957/1958, and computer poem MOrpheus in 1978), who figuratively, impressively, but accurately summed up the importance of the impressionist, symbolist and Art Nouveau author A.G.M. for the overall Croatian literature.

20

Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век

53%

Simeonova-Konach G.

Poznańskie Studia Slawistyczne

|

2020

|

issue 18

209-222

EN

The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.

Refine search results

Istočnie greh Ljubomira Micicia oraz Adam i Eva Miroslava Krležy – dwa modele antropocentryzmu w dramacie ekspresjonistycznym

„Die Offenbarung des Johannes“ in expressionistischer Auslegung

Expressionismus und jüdische Identität. Jakob Steinhardt zwischen Kunst und Religion

Ekspresjonizm to gra... Ale właściwie, czemu nie? Mabuseria, czyli eksperyment w "Mocnym człowieku" Henryka Szaro.

Rosja, kobieta, ekspresja… O strategiach wyparcia Innego w tłumaczeniu Życia o. Wasyla Leonida Andriejewa

The City through the Eyes of Expressionism

TORTURE ON STAGE: PETER ZADEK’S STAGING OF MEASURE FOR MEASURE

Дослідження експресіонізму в сучасному українському літературознавстві

Lothar Schreyer a sztuka sceniczna ekspresjonizmu

Cris des cœurs de Jean-Victor Pellerin, exemple d’une pièce hybride

Mężczyzna i jego upiory Henri-René Lenormanda, przykład dramatu stacyjnego

Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki

Oniryczne ekspresje w "Sonatach Mol" Marii Grossek-Koryckiej

In the Old Cinema. Stefan Grabiński and Expressionism

The Impact of Historic Events on the Formation of the Creative Method of Ernest Kontratovych in the Early Period (1930s-1940s)

Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions

Le vagabondage moderne dans le théâtre de Henri-René Lenormand

Gottfried Benn und die doppelte Staatsgründung 1949 – zu ausgewählten Prämissen seines schwierigen Verhältnisses zu Staat an sich und zum bundesdeutschen (Teil-)Staat

Matoš i postmoderna, A.G.M. kao matrix hrvatske književnosti

Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век