Search results

1

Women as Constellation in Walter Benjamin’s Aesthetics

100%

Damião C.

Estetyka i Krytyka

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2016

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issue 2(41)

119-134

EN

In seeking to combine the concept of the ‘Feminine’ and ‘Aesthetics,’ the approach here is to carry out an initial examination of Walter Benjamin’s aesthetic theory, then delve into his texts on Eros, leading to his personal correspondence. These combined references will indicate his change of mind, moving from the feminine, as unique, towards its ‘constellation formation’. Montage is the medium of leading with quotation as a mosaic incorporating the image of constellation. The use of montage has parallels in certain avant-garde art movements, its purpose being to disrupt a purely linear approach, in order to cope with the reality of the fragmentation of experience. Although we have little evidence of Benjamin’s theory being connected to Gender Studies, we can take his theory on Eros as an example of how this philosopher foresaw some of the contemporary questions concerning women, amalgamating these with his Aesthetics theory.

2

Jeszcze o adaptacji. W odpowiedzi Sewerynie Wysłouch

89%

Hendrykowski M.

Przestrzenie Teorii

|

2015

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issue 23

EN

Marek Hendrykowski’s paper provides certain remarks and necessary explanations in response to Seweryna Wysłouch’s polemic (“A film adaptation – a translation or montage?”, published in Przestrzenie Teorii no. 22, 2014).

3

Nowy dokument historyczny

88%

Hendrykowski M.

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

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2015

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vol. 17

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issue 26

67-77

EN

Methodology of New Film History The article’s author, based on various examples taken from the European documentary tradition, seeks to determine how the particular position of a new generation of found footage films is allocated and viewed in Polish cinemas and in relation to Polish contemporary audiovisual culture. Marek Hendrykowski redefines film editing (found footage film, compilation) as a historical narrative with its own, attractive poetics and successful way of negotiating its prestige and popularity in the public sphere.

4

Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated World

75%

Baldi V., Conceição N.

Eidos. A Journal for Philosophy of Culture

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2022

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vol. 6

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issue 2

70-85

EN

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections.

5

Ocalone w montażu. Obraz, empatia i przeciw-historia w Austerlitz W.G. Sebalda

75%

Mościcki P.

Konteksty - Polska Sztuka Ludowa

|

2014

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vol. 68

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issue 3-4(306-307)

123-134

EN

This attempted analysis focuses on the motif of empathy in the oeuvre of W. G. Sebald from the historical perspective and within the context of relations between the text and the image in Austerlitz. The argument is based on a fragment in which the titular protagonist, seeking an image of his mother, comes across a Nazi propaganda film made in the Theresienstadt ghetto at the end of the war. Apparently, the path towards an empathetic encounter with one’s past and the traumatic history of Europe leads across montage, in which observed images become rendered as problems and salvaged.

6

Wyobraźnia autora i tłumacza wobec pamięci kulturowej. O Wybrańcu Tomasza Manna i jego polskim przekładzie

65%

Lukas K.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2014

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issue 23

149-170

EN

On the example of Mann’s Der Erwählte (1951) and its Polish version Wybraniec (1960) by Anna Linke, the article demonstrates how the creator’s imagination (the creators are the author and the translator) is related to translation and cultural memory, the basic notions of recent German culture studies. Mann’s novel can be described as a parodistic translation of a medieval epic, a text belonging to German cultural memory, into 20th century discourse and language. The article shows Mann’s translation strategies, whose aim is actualisation of the stocks of cultural memory of German readers: an experimental style imitating Medieval language, specific structure of narration time, represented world, and the narrator’s character, the montage and ecphrasis, which are all techniques calling for creative imagination. The article then demonstrates how Mann’s techniques were rendered in the translation. The analysis shows that Linke’s text, by referring to cultural memory of Polish readers, activates the content which is absent in cultural memory of German readers: this is because the translation employs fabulous and archaic elements derived from Polish historical novel, instead of stylistic and genre-specific techniques of German medieval epics. References to the visual archive of common European cultural memory (medieval iconography and architecture) clearly facilitate the translation, and the translator’s own imagination allows for credible rendition of names of medieval realities. The most important task was the rendition of the medieval dialect, which was fully Mann’s imaginary creation.

7

Język obrazów Zofii Rydet – „Zapis socjologiczny” jako atlas

63%

Maliszewska M.

Amor Fati

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2017

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issue 1(7)

78-93

EN

In my paper I consider the relation between Sociological Record by Polish photographer Zofia Rydet and the tradition of visual atlases founded by Aby Warburg. The crucial notion of Rydet’s project is the multiplicity of snapshots taken by her. These are treated in their correlation as parts of a whole, though their meanings may seem vague. Thanks to that, the viewer’s imagination and creative reading are set free, thus making the political potential of the project visible.

8

Błądzenie Gézy Csátha: między autobiografizmem, fikcją a autoanalizą

63%

Chmurski M.

Autobiografia. Literatura. Kultura. Media

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2019

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vol. 13

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issue 2

73-85

EN

The article scrutinizes how autobiographism, fiction and autoanalysis crisscross in the psychoanalytical study Elmebetegségek psychikus mechanizmusa (On the psychic mechanisms of mental illnesses) by the Hungarian writer and psychiatrist Géza Csáth (1887–1919) in the light of his diary and Carl Gustav Jung’s doctoral thesis.

PL

W artykule poddano analizie splot autobiografizmu, fikcji i autoanalizy w studium psychoanalitycznym O psychicznych mechanizmach chorób umysłowych węgierskiego pisarza i psychiatry Gézy Csátha (1887–1919) w świetle jego zapisków dziennikowych oraz rozprawy doktorskiej Carla Gustava Junga.

9

Montażowe formy Wacława Kaźmierczaka

63%

Cieśliński M. K.

Kwartalnik Filmowy

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2023

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issue 123 Tempo i rytm

117-138

PL

Wacław Kaźmierczak (1905-1981) należy do czołowych polskich montażystów kina dokumentalnego. Zdobywszy doświadczenie filmowe przed rokiem 1939 oraz przy dokumentowaniu powstania warszawskiego, po II wojnie światowej współtworzył najważniejsze produkcje Wytwórni Filmów Dokumentalnych w Warszawie i wykształcił wielu następców. W pracy preferował lakoniczne formy i metaforyczne połączenia montażowe; potrafił przykuć i utrzymać uwagę widza. Jego styl ewoluował od perswazyjnych komunikatów politycznych do przekrojowych syntez historycznych, tworzonych z wykorzystaniem materiałów archiwalnych, czego wybitnym przykładem jest pełnometrażowy dokument Requiem dla 500 tysięcy (1963). Jako montażysta odznaczył się pogłębioną znajomością historycznych form prowadzenia narracji filmowej, czemu charakterystyczny wyraz dawał w montowanej przez prawie czterdzieści lat Polskiej Kronice Filmowej. Autor omawia ewolucję stylu Kaźmierczaka i przedstawia jego najbardziej charakterystyczne dzieła.

EN

Wacław Kaźmierczak (1905-1981) is one of the leading Polish editors of documentary cinema. Having gained film experience before the war and by documenting the Warsaw Uprising (1944), after World War II he co-created the most important productions of the Documentary Film Studio in Warsaw and educated many successors. In his work, he preferred a laconic style and metaphorical montage connections; he knew how to catch and hold the viewer’s attention. His style has evolved from persuasive political messages to cross-sectional historical syntheses, created using archival materials, of which the feature-length documentary Requiem dla 500 tysięcy [Requiem for 500 000] (1963) is an outstanding example. As an editor, he was distinguished by his in-depth knowledge of historical forms of film narration, characteristically expressed in the Polish Film Chronicle, which he edited for almost 40 years. The author discusses the evolution of Kaźmierczak’s style and presents his most characteristic works.

10

Atlas obrazów Mnemosyne Aby’ego Warburga a montaż filmowy

63%

Maliszewska M.

Edukacja Filozoficzna

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2020

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issue 69

169-180

PL

W tekście analizuję Atlas obrazów Mnemosyne Aby’ego Warburga w kontekście montażu kinowego. Przywołuję Giorgio Agambena, który zwraca uwagę na to, że narodziny metodologii Warburga są zbieżne w czasie z początkami kina, oraz Philippe’a-Alaina Michauda, który pokazuje podobieństwa pomiędzy projektem Warburga a twórczością między innymi Siegfrieda Kracauera i Siergieja Eisensteina. Krytycznie odnosząc się do ich tez, podkreślam znaczące różnice pomiędzy użyciem montażu w Atlasie a wykorzystaniem go w kinie. Podczas gdy w tym pierwszym montaż staje się podstawą dzieła otwartego (za Umbertem Eco), w kinie montaż jest sposobem na wyrażanie idei reżyserki.

EN

I analyze Aby Warburg’s Mnemosyne Atlas in the context of cinematic montage. I refer to Giorgio Agamben, who points out that Warburg’s methodology was created in the early days of cinema, and Philippe-Alain Michaud’s thesis in which he shows the correspondence between Siegfried Kracauer’s and Sergei Eisenstein’s projects and Mnemosyne. Critically addressing their theses, I emphasize a significant difference between using montage in the Atlas and in cinema – while in the first one montage creates something that we can call, after Umberto Eco, the open work, in cinema it is a method of expressing the director’s ideas.

11

Montaż nowoczesności. Wystawa „Atlas nowoczesności” wobec wybranych wątków filozofii historii sztuki

63%

Jóźwiak K.

Internetowy Magazyn Filozoficzny Hybris

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2016

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vol. 32

|

issue 1

19-35

EN

In this article I examine the notion of “montage” in the contexts of both Muzeum Sztuki exhibition “Atlas of Modernity” and contemporary trends in aesthetics. In the exhibition folder there appears the word “montage” which describes a specific methodology of the exhibition. The way “montage” is being used metaphorically in the discourse of aesthetics is by no means new. Thus I decided to dig into the roots of the usage of this notion, which goes back to the beginning of 20th century when Aby Warburg established a new methodology in the visual studies, Walter Benjamin elaborated on his literary montage, and Sergey Eisenstein contributed to general theory of montage. Nevertheless, the very central figure is contemporary theorist Georges Didi-Huberman and his original reading of the above mentioned thinkers. Thus, using this constellation of names, I try to examine, how the notion deriving from cinematography happened to play such an important role in contemporary aesthetics.

12

Поэтика драмы Наталии Мошиной

63%

Головчинер В., Сумина Е., Томский государственный педагогический университет К. л.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2015

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vol. 08

RU

Статья знакомит с поэтикой русского драматурга, автора девяти пьес, написанных в 2004–2011 гг. и еще не исследованных. Анализ двух из них ("Треугольник" и "Под небесами") на фоне других позволяет думать о том, что современная драма характеризуется не только раз- рывом с опытом предшественников в провокациях «новой драмы». Н. Мошина представлена как талантливый драматург, развивающий потенциал интеллектуальной, эпической драмы ХХ века в парадигмах новейшей неклассической поэтики.

EN

The paper surveys the work of the Russian playwright, author of nine dramas, written in 2004–2011 and not subjected to research yet. Two of the plays ("A Triangle" and "Under Heavens") are analysed and also compared with others. This makes possible the conclusion that the modern drama is characterized not only by breaking off with the experience of the predecessors, manifest in post-modernist provocations of „the new drama”. Natalia Moshina is presented as a talented playwright developing the potential of the intellectual, epic drama of the 20th century within the paradigm of the latest non-classical poetics.

13

Przekształcanie pamięci. Found footage jak machina kulturowej reinterpretacji

51%

Giec M.

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

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2015

|

vol. 17

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issue 26

59-66

EN

Transforming Memory: Found Footage as a Mechanism of Cultural Reinterpretation The article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue.

14

Zygmunt Haupt’s literary engineering

51%

Zając M.

Forum Poetyki

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2023

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issue 32

EN

With the tools borrowed from the psychoanalytical theory of Sigmund Freud and Jacques Lacan, this article discusses the topic of the represented world, and especially literary characters, in the prose of Zygmunt Haupt. The concept of the drive presented as an artistic montage – as developed by Lacan – turns out to be particularly useful in the analysis of literary portraits depicted by Haupt. Constructed as a montage of memories, this prose points to the very mechanism of imaginary representation driven by what is described by Freud as “drive-spring”. It constructs a stage on which individual characters are presented; it drives them as characters. It is also a metaphor describing the mechanisms of remembering and writing. Propelled by the “drive-spring” those literary characters resemble dolls or mannequins; they also point to the surrealist tradition within which these literary representations can be located.

PL

Prezentowany artykuł podejmuje tematykę konstrukcji świata przedstawionego, a zwłaszcza literackich postaci, w prozie Zygmunta Haupta z wykorzystaniem narzędzi psychoanalizy Sigmunda Freuda oraz Jacques’a Lacana. Szczególnie istotna w tym kontekście okazuje się koncepcja popędu jako artystycznego montażu wypracowana przez francuskiego psychoanalityka. Z jej pomocą analizie poddane zostały literackie portrety wybranych bohaterek Haupta. Proza ta, skonstruowana na zasadzie montażu wspomnień, wskazuje jednocześnie na sam mechanizm wyobrażeniowej reprezentacji napędzany przez sprężynę popędową. To ona jest podstawą sceny, na której prezentowane są poszczególne postaci, ona je napędza, ona wreszcie jest metaforą ukazującą mechanizm wspominania i pisania. Napędzane przez sprężynę popędową postaci Haupta przypominają lalki albo manekiny, wskazując tym samym również na surrealistyczną tradycję, w obrębie której przedstawienia te mogą być lokowane.

15

“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)

51%

Sakowska A.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2014

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vol. 11

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issue 26

45-63

EN

How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).

16

Монтаж как сюжетный прием в драматургии Вадима Леванова

51%

Журчева Т.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

|

2019

|

issue 12

151-160

EN

The article is devoted to the issue of montage as a plot-forming technique actively used in modern drama. The possibilities of montage are considered on the basis of the last plays by Vadim Levanov. Levanov is one of the most famous representatives of the modern Russian drama of the turn of the 21st century, and his work reflected all the variety of ideological and artistic explorations in contemporary drama. The dramatic diptych The Life of the Holy Blessed Xenia of St. Petersburg and The Most Possibly Authentic and Plausible Biography of the Bloody Lady Darya Saltykova, a Moscow Hereditary Noblewoman as well as A Play about Cows undoubtedly were Levanov’s programmatic works which reflected his philosophical queries. The article shows how the use of the montage technique allowed the playwright to express his attitude towards the eternal opposition of good and evil.

RU

Статья посвящена проблеме монтажа как сюжетообразующего приема, активно используемого в современной драматургии. Возможности монтажа рассматриваются на примере последних пьес Вадима Леванова. Он – один из наиболее известных представителей новейшей российской драмы рубежа XX–XXI веков, и в творчестве Леванова отразилось все многообразие идейных и художественных исканий современной драматургии. Драматургический диптих Святая блаженная Ксения Петербургская в житии и Кровавыя барыни Дарьи Салтыковой, московской столбовой дворянки правдоподобное и елико возможно достоверное жизнеописание, а также Пьеса про коров несомненно были программными произведениями Леванова, в которых отразились его философские искания. В статье показано, как использование приема монтажа позволило драматургу выразить свое отношение к извечной оппозиции добра и зла.

Refine search results

Women as Constellation in Walter Benjamin’s Aesthetics

Jeszcze o adaptacji. W odpowiedzi Sewerynie Wysłouch

Nowy dokument historyczny

Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated World

Ocalone w montażu. Obraz, empatia i przeciw-historia w Austerlitz W.G. Sebalda

Wyobraźnia autora i tłumacza wobec pamięci kulturowej. O Wybrańcu Tomasza Manna i jego polskim przekładzie

Język obrazów Zofii Rydet – „Zapis socjologiczny” jako atlas

Błądzenie Gézy Csátha: między autobiografizmem, fikcją a autoanalizą

Montażowe formy Wacława Kaźmierczaka

Atlas obrazów Mnemosyne Aby’ego Warburga a montaż filmowy

Montaż nowoczesności. Wystawa „Atlas nowoczesności” wobec wybranych wątków filozofii historii sztuki

Поэтика драмы Наталии Мошиной

Przekształcanie pamięci. Found footage jak machina kulturowej reinterpretacji

Zygmunt Haupt’s literary engineering

“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)

Монтаж как сюжетный прием в драматургии Вадима Леванова