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1

Albert Camus’ eksistentsialismi jooni Priit Pärna filmides

100%
Nurk P. K.
Mäetagused
|
2023
|
vol. 85
95-120
EN
Comparison of two works benefits the understanding of both of them. The comparison finds the overlap between the works along with the standpoints that distinguish them. The interpretation of these works is broadened and also more distinctly delimited. The article examines the films of Estonia’s most accomplished animation director Priit Pärn for signs of existentialist thought, based on Albert Camus’s The Myth of Sisyphus. Close textual analysis was used to answer the research question: which existentialist traits appear in Priit Pärn’s films, and how they resemble and differ from Albert Camus’s view of existentialism. The research found numerous parallels between Priit Pärn’s filmography and Camus’s existentialist thought. One of the leitmotifs of Pärn’s films is the prevalence of preposterous totalitarian systems, where the prevailing situation is nearly identical to one in which the absurd man would discover the absurd. Various characters from these worlds have lost their human shape in a way that causes discomforting alienation in the viewer, which is one of the absurd discoveries mentioned by Camus. Though many of Pärn’s characters are similar to the absurd man, only in one of the films are they able to free themselves from the rigid routine conclusively. However, none of the characters recognize the absurdity of the system around them: they either live under its hardship or those who free themselves resemble the absurd man only in their actions, not in their mentality, because they do not act upon a logical discussion. Distinctive to Pärn’s style, the unrestricted approach to reality aligns with Camus’s reluctance about the mindset that treats humans and everything else as if they had a definite place and purpose in the world. Priit Pärn’s films have many similarities with Albert Camus’ existentialism. Although juxtaposing them reveals that while Camus concentrates on a mentality on how to interpret and embrace the absurd, Pärn’s films focus on the absurd and the absurd systems themselves, along with describing the burdens they bring about. Additionally, often in Priit Pärn’s films, the oppressive plight of the characters remains persistent. In contrast, Camus ends his essay in faith that even in a world burdened with absurd one may be happy.
2
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Szekspir w animacji. Filmowe adaptacje dramatów w kontekście młodego widza

86%
Pruszak M.
Kultura i Edukacja
|
2014
|
issue 3(103)
75-93
EN
With the passage of time William Shakespeare’s dramatic works became a great inspiration to artists from the area of popular culture. The bard’s masterpieces are often used by filmmakers, including those who create animated movies. The Shakespearian motifs can appear in animated movies in many different ways: starting from accurate adaptations, through movies just slightly inspired by the plot of the dramatic works, ending up with films that refer only to particular characters or popular scenes from the plays. The elements of Shakespearian works may serve as an inspiration for completely new stories, they may also act as an insignificant quirkiness or as a sign of intellectual curiosity. This article’s aim is to discuss the advantages and disadvantages of the animated adaptations of Shakespeare’s plays, indicated for young viewers. On the one hand the techniques used by animators give a chance to find new visual expression of the bard’s plays and let us watch well-known, classic stories in a modern context. On the other hand – what is confirmed by the survey presented in this article – casual approach to Shakespeare’s works, instead of bridging the gaps between the dramatist and young participants in media and culture, may increase the distance between them.
3

РОЛЬ АВТЕНТИЧНИХ ВІДЕОТЕКСТІВ У ПРОЦЕСІ ФОРМУВАННЯ КОМУНІКАТИВНОЇ КОМПЕТЕНЦІЇ СТУДЕНТІВ-ІНОЗЕМЦІВ

72%
Тетяна Д., Ольга С.
Педагогічні науки: теорія, історія, інноваційні технології
|
2017
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issue 5(69)
245-256
EN
The article covers the usage of authentic videotexts at the initial stage of teaching Russian as foreign language. The authenticity problem has recently been in focus of the methodology of foreign languages teaching. Authentic videotexts are of the most interest. Texts of this type when based on a complex of tasks help study phonetical, lexical and grammatical material, and they also introduce the students to the authentic language samples andethnic and cultural peculiarities of the country which language they study. Authenticvideo materials(cartoonsinparticular)possessbiginformationvalueanddynamicsandtriggerinterestandmotivation for the foreign language studying.Video clips provide high information capacity of the material, visual content of the lesson, promote cognitive activities of the students, increase intensity and quality of studying, as well as give possibilities for the development of language, speech and sociocultural competence. Effectivenessofvideomaterialusageduringthelessonsofforeignlanguagesdependsnotonlyondefiningitsplaceintheeducationalsystembutalsoonthe rationality of the video lesson structure and coordination between the educational potential of the video film and the educational tasks. Cartoonshaveanumberofadvantages: theyareauthentic, informatively rich and contain high concentration of language means. This type of video helps present the language material in the real context, repeat and increase the vocabulary, enhance the communicative skills. Usageoftheauthenticvideomaterialsincreasesthestudents’activity, makesthelanguagestudyprocessemotionalandinteresting, develops speech skills and helps foreign students create the communicative competence. The cartoon not only helps to introduce the new linguistic units and widen the students’ lexicon, but also increases motivation for studying a foreign language. The results of the research can be used both by teachers and students during foreign language classes.The perspectives of further research can be seen in the deeper analysis of the video material usage when teaching Russian and Ukrainian as foreign languages.
4
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The interaction of verbal and visual elements in discourse: the case of "The New Yorker" cartoons

72%
Hardukiewicz-Chojnowska J.
Annales Neophilologiarum
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2014
|
issue 8
55-66
EN
The aim of this paper is to introduce the issue of the particular relation of verbal and visual elements in "The New Yorker" cartoons and to point at the significance of the interdependence of language and image in the process of the creation of meaning. The paper constitutes an introduction to a systematic analysis in progress aimed at constructing an integrated model of intersemiotic analysis and contains theoretical premises concerning text and discourse perceived as multimodal phenomena. The significance of the particular relation between language and image, which, supplemented by context are the key to understanding cartoons, is illustrated in a described experiment revealing that the presence of both picture and language is necessary in the process of decoding messages intended by the cartoonists. The article also presents a description of types of cartoons distinguished in the process of the analysis of cartoons published in "The New Yorker" in the chosen years and contains the results of statistical research revealing similarities and differences concerning the stylistic form of cartoons during the initial period of their publication in "The New Yorker" and at the beginning of the 21st century. The final part of the article briefly introduces the area of further research.
PL
Celem niniejszego artykułu jest wprowadzenie do zagadnienia relacji między elementami werbalnymi i wizualnymi w felietonach rysunkowych publikowanych w magazynie "The New Yorker" oraz wskazanie na szczególne znaczenie zależności między językiem i obrazem w procesie powstawania znaczenia. Artykuł stanowi wprowadzenie do powstającej w ramach rozprawy doktorskiej autorki bardziej szczegółowej analizy zmierzającej do zaproponowania zintegrowanego modelu analizy intersemiotycznej oraz przedstawia teoretyczne podstawy dotyczące tekstu i dyskursu postrzeganych jako zjawiska multimodalne. Szczególne znaczenie relacji pomiędzy językiem a obrazem, które uzupełnione o kontekst są kluczem do zrozumienia felietonów rysunkowych, ilustruje opisany w artykule eksperyment wskazujący na fakt, iż obecność zarówno obrazu, jak i języka jest konieczna w procesie interpretowania komunikatu przekazywanego przez autora felietonu rysunkowego. Niniejszy artykuł zawiera także opis rodzajów felietonów rysunkowych wyszczególnionych w procesie analizy cartoons opublikowanych w magazynie "The New Yorker" w wybranych latach oraz przedstawia wyniki statystycznej analizy ukazującej podobieństwa i różnice dotyczące stylistycznego kształtu felietonów rysunkowych zarówno w początkowym okresie ich publikacji w omawianym magazynie, jak i na początku XXI wieku. Końcowa część artykułu pokrótce wskazuje dalsze obszary planowanej analizy.
5
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Komiks i topika Zagłady

72%
Lichtblau K.
Studia Żydowskie. Almanach
|
2016
|
vol. 6
|
issue 6
173-183
EN
This article is an attempt to include comics into a broader field of research, namely into the topic of Holocaust. In this context, understanding of the topic is related to motifs recurring in this kind of writing. In his text, Sławomir Buryła has enumerated the following keywords: another world, smoke, silence, shmaltsovnik, torturer, selection, trains, Muslim etc. Their presence and functioning in Polish and foreign comics is discussed in the article. Additionally, the author focuses on another motif – photography – which is featured in comics on various different levels. It invokes the reality which is outside a text and, in a way, authenticates the vision presented by comics. The summary elaborates on the dangers of simplification which is characteristic for pop culture. Hence, the article is an attempt to answer the question posed by Giorgio Agamben: “What remains of Auschwitz?”
PL
Niniejszy artykuł jest próbą włączenia komiksu do szerszego pola badawczego, a mianowicie do tematu Holokaustu. W tym kontekście rozumienie tematu wiąże się z motywami powracającymi w tego rodzaju piśmiennictwie. W swoim tekście Sławomir Buryła wylicza słowa-klucze: inny świat, dym, cisza, szmalcownik, oprawca, selekcja, pociągi, muzułmanin itp. W artykule omówiono ich obecność i funkcjonowanie w komiksie polskim i zagranicznym. Dodatkowo autor skupia się na innym wątku – fotografii – który pojawia się w komiksach na różnych poziomach. Przywołuje rzeczywistość, która jest poza tekstem i niejako uwiarygodnia wizję przedstawianą przez komiks. Omówiono także niebezpieczeństwa uproszczeń, które są charakterystyczne dla popkultury. Artykuł jest więc próbą odpowiedzi na pytanie postawione przez Giorgio Agambena: „Co pozostało z Auschwitz?”
6
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Kubuś Puchatek czy dzika bestia — oblicza „rosyjskiego niedźwiedzia” we współczesnej karykaturze politycznej

58%
Sładkiewicz Ż.
Studia Rossica Gedanensia
|
2014
|
issue 1
431–453
RU
Политическая карикатура занимает важный и неотъемлемый сегмент сатирического коммуникационного пространства. Она приобретает особое значение в эпоху иконического переворота, доминирования визуальной культуры. Изображение становится фундаментальным носителем смысла сообщения, способом самовыражения. Визуальная коммуникация в значительной степени «колонизирована» существующими образами и текстами культуры, которые детерминируют наше сознание, формируют культурную и этническую идентичность. Важную роль в формировании облика современной карикатуры играют различные формы визуальной интертекстуальности. Главной коммуникативной интенцией карикатуристов является осмеяние событий в сфере политики и резкая критика деструктивных действий политической элиты. Использование в этих целях стереотипных образов открывает новые возможности презентации и интерпретации деятельности политических субъектов. Одним из таких стереотипных образов, глубоко укоренившихся в культуре и неизменно коррелируемых с Россией, является RUSSIAN BEAR. В карикатуре он может быть представлен как добродушный сказочный или олимпийский Миша или, чаще, как агрессивный и кровожадный зверь, действующий жестоко и беспощадно. В статье автор предлагает типологию и анализ коннотативного наполнения образов, представляющих стереотипного «русского медвядя» в современной российской и западной политической карикатуре.
EN
Political caricature is an important segment of the satirical communication space. It takes on special importance in the era of pictorial return, the dominance of visual culture. The image becomes an important carrier of meaning, a way of expression. Different forms of visual intertextuality play an important role in the shaping of contemporary caricatures. The main communicative intention of cartoonists is ridiculing of developments in the policy and sharp criticism of the destructive actions of the political elite. Using stereotypical images in this order opens up new opportunities of presentation and interpretation of political activities. One of these images, deeply embedded in the culture and consistently correlated with Russia, is the image of a RUSSIAN BEAR. The caricature of it can be presented as a good-natured fairy-tale and Olympic Misha or, more often, as an aggressive, bloodthirsty, angry beast that acts cruelly and ruthlessly. In this article the author makes a typology and analysis of characters, showing a stereotypical "Russian bear" in Russian and Western political caricature.
PL
Autorka podejmuje kwestie z gatunku satyry politycznej w aspekcie komunikacji. Podkreśla, iż wizualizacja jest fundamentalnym nośnikiem sensu komunikacji, zaś istotną rolę w tworzeniu współczesnej karykatury odgrywają różne formy intertekstualności wizualnej. Wykorzystanie w karykaturze stereotypowych obrazów daje nowe możliwości prezentacji i interpretacji politycznych podmiotów. W artykule przedstawiono i zinterpretowano stereotypowe obrazy RUSSIAN BEAR ('rosyjskiego niedźwiedzia'), trwale wpisane w kulturę Rosji. Autorka dokonuje typologii i analizy strony konotacyjnej obrazów przedstawiających "rosyjskiego niedźwiedzia" w rosyjskiej i zachodniojęzycznej katykaturze politycznej.
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