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1

Utracony wymiar

100%

Giżycki M.

Kwartalnik Filmowy

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2014

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issue 86

209-212

PL

Lustra, wbrew powszechnemu mniemaniu, nie zawsze wiernie odwzorowują rzeczywistość. Mogą nas zwodzić, o czym wiedzą iluzjoniści i bywalcy gabinetów śmiechu. Zwodnicze lustra są częstym motywem w kinie, jak pokazał to Bergman w „Twarzy“ („The Magician“) czy Orson Welles w „Damie z Szanghaju“ („The Lady from Shanghai“). Pierwszym filmem, w którym wykorzystano krzywe lustra w celu przedstawienia „świata z gumy”, było „Szaleństwo doktora Tube’a“ („La Folie du Docteur Tube“) Abla Gance’a z 1915 r. Film opowiada o naukowcu, który eksperymentuje w swoim laboratorium z jakimiś substancjami. Wreszcie uzyskuje biały proszek, który powoduje, że posypane nim przedmioty i osoby karykaturalnie zmieniają kształt. Autor stawia tezę, że od pewnego czasu żyjemy w szalonym świecie doktora Tube’a. I co dziwniejsze, nikomu – jak się zdaje – to nie przeszkadza. Pojawienie się telewizji w HD o proporcjach ekranu 16:9, przy jednoczesnym istnieniu starego formatu 4:3, spowodowało, że w wielu domach, a nawet na festiwalach filmowych, programy i filmy zaczęły być odtwarzane w niewłaściwy sposób – wydłużone lub ściśnięte, jak w krzywym zwierciadle. Ponadto, jak się wydaje, większość odbiorców kompletnie tego nie dostrzega.

EN

Mirrors, contrary to popular belief, do not always faithfully reflect reality. They can deceive us, which illusionists and visitors to rooms with distorting mirrors at a fun fair know full well. Deceptive mirrors are a common motif in the cinema, which was well demonstrated by Bergman in “The Magician“, or Orson Welles in “The Lady from Shanghai“. The first film in which distorting mirrors were used to show a world made out of rubber was “La Folie du Docteur Tube“ (1915) by Abel Gance. The film tells the story of a scientist who experiments with various substances in his laboratory. Finally he obtains a white powder, which makes things and persons sprinkled with it change shape in a funny, and sometimes grotesque way. The author argues that for some time now, we have been living in the mad world of doctor Tube. But what is surprising, nobody seems to mind. The advent of the HD television with an aspect ratio of 16:9, together with the continued existence of the old format of 4:3, means that in many homes, but also at film festivals, programs and films are displayed in a wrong way – elongated or compressed, like in a distorting mirror. Moreover it seems that most members of the audience do not notice this.

2

O tym, co można ujrzeć po drugiej stronie lustra, czyli garść refleksji o odbiciach, tłumaczeniach i wierszach

80%

Kilanowski P.

Postscriptum Polonistyczne

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2018

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issue 1 (21) Pomiędzy Polską, Portugalią i Brazylią. Literatura – kultura – język – edukacja

113-138

EN

Referring to the symbols and myths connected with a mirror, the author of this essay presents Polish translations of Brazilian and Uruguayan poetry and Brazilian translations of Polish poetry. Selected poems that refer to the mirror inspire multicultural reflection on the translation process, the meaning of the poetry and human condition.

3

ÉCHO(S) DU MYTHE DE NARCISSE CHEZ ANDRÉ GIDE : LES CAHIERS D’ANDRÉ WALTER

70%

Lefter D.-A.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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vol. 1

157-164

EN

We aim in the present paper at illustrating the importance of the myth of Narcissus in Gide’s prose. The recurrence of this myth is a proof of the fact that the writer often resorts to memory in creating his characters. Looking into the mirror, the basic act of the myth of Narcissus, becomes a gesture through which the writer plunges into his past and psychic. Thus, Narcissus turns into a fragmentary, totalising myth, a hallmark of both Gide’s life and work.

4

The use of the mirror in speech therapy

70%

Hamerlińska A., Kieczmer J.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2020

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issue 30

EN

The article begins the description of the history of a mirror: its origin, creation and use. Then the characteristics of the mirror as a typical element of the speech therapy room equipment were made. The article discusses the issue of its use in the opinion of speech therapists. Speech disorders specialists note that it should be used first of all for people with articulation disorders and less for people with mutism.

5

Przyjaciel czy pochlebca? Żona jako lustro w „Zaleceniach małżeńskich” Plutarcha (14, 139f–140a)

70%

Sowa J.

Collectanea Philologica

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2015

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vol. 18

EN

In chapter 14 of the “Advice to the Bride and Groom” Plutarch recommends a wife should behave like a mirror, faithfully reflecting her husband’s moods and attitudes. In this paper I compare this piece of advice with other mirror-similes which have been related to human beings (as lovers, friends, flatterers, and models to follow) in ancient Greek and Roman literature, especially in Plutarch’s works. I conclude that the ideal Plutarchan wife has been situated, perhaps unintentionally, „between” friend and flatterer, because the mirror-simile in the “Advice…” symbolizes not only the true unity of man and his wife, but also the strict hierarchy amongst them.

6

History of some antiquities from the collection of Michał Tyszkiewicz in Gródek

61%

SnitkuvienĖ A.

Światowit

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2018

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vol. 57

259-263

EN

The palace in Gródek, one of the palaces built by the Tyszkiewicz family in Lithuania, was located in present-day Belarus, a dozen kilometres from Minsk. The founder of the building was Count Michał Tyszkiewicz. Built in 1855, the palace remained in the hands of the family until 1918. Among the antique pieces of furniture documented on photographs and paintings are a table and a mirror, today kept in Lithuanian museums. The mirror, decorated with tusks of wild pigs, was offered to King Augustus II on the occasion of his coronation in 1697. In the middle of the 19th century it was purchased by Michał Tyszkiewicz, who then added it to the furnishings of a tent offered as a resting place for Tsar Alexander during a hunting trip organised by Michał Tyszkiewicz and his brother in 1858 near Vilnius. This event was recorded by journalists and artists on some lithographs.

7

Audiowizualne oblicza przesądu. O niektórych funkcjach motywu lustra w dziele filmowym

61%

Agnieszka Kuc A.

Załącznik Kulturoznawczy

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2014

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issue 1

158-178

EN

The purpose of this article is to show the role played by the mirrors and related to them themes in audiovisual works, not only at the production stage, but also as symbols which are hidden in those works. I presented, in an abbreviation, how the filmmakers are using the mirrors in the production process, i.e. technical aspects, as well as their functions in the frame, like including them as an attractive ornament to the scene. Each role and func- tion of the mirror has been highlighted in the article by examples from the selected movies. In the next part I focused on showing the mirror from the perspective of superstitions that are associated with it, and I also made an attempt to isolate and clarify its roles and functions which can be found in the movies. The di- vision I proposed was constructed in such a way that it could be easily expla- ined, in one or two words, what lies beneath them, and so the distribution is as follows: wraith (emphasis on the problem of identity), magical mirror (introducing elements of magic to the movies), the gates of truth (revealing the true face of reality), medium (mediating between the worlds), bad omen (the preaching of someone’s death), prison for the soul.

8

Characteristics of Recursive Structures of Modernity

61%

Zajchenko M., Yakovleva E.

Dialogue and Universalism

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2014

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issue 3

145-150

EN

The focus of the authors’ interest is recursion, serving as one of the principles of de-sign and existence of hierarchical systems. Its features are among others the infinite self-transformation associated with the return and playback based on the algorithm of its own unfolding, by analogy, which ensures the movement inward, on the basis of which complication of the system takes place. This method is quite common in cultural space, giving rise to a situation of multiplicity of values and interpretations.

9

Dual codes: Text within a Text in Lotman and Kristeva

51%

Spassova K.

Prace Filologiczne. Literaturoznawstwo

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2018

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issue 8(11) cz.2

13-28

EN

Lotman explicitly affirms that his methodological wager is an attempt to join the formal-structural paradigm of Roman Jacobson and the contextual-dialogical paradigm of Mikhail Bakhtin. Lotman conceives the structure of the text as heterogenous just because it is at least dually coded, while semiosis is exactly the process of this inner hybridization, which has a creative potentiality. My paper will examine the dual coded structure of Lotman in the light of early Kristeva distinction between semiotic and symbolic function. I will examine the influence of Lotman in Kristeva’s works in the context of the 60s.

10

Warszawska legenda miejska w „Zwierciadlanej zagadce” Jadwigi Łuszczewskiej

51%

Sawicka J.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

121-131

EN

Zwierciadlana zagadka (Mirror’s riddle) is the only science-fiction novel by Jadwiga Łuszczewska who is known primarily as an author of historical novels and improvisator. The present story uses the legend of the basilisk and the efforts to bring it back to life. Analysing Zwierciadlana zagadka through the prism of the urban legend, a phenomenon described in the literature and folklore research in the second half of the twentieth century, allows to read it as a record of the late nineteenth century fear of modern discoveries related to the sphere of human memory − capturing images in photography and on video tape.

11

Lustrzane odbicia

51%

Skrzynecka J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

75-90

EN

In 'Natural Question' 1 Seneca presents the survey of the rainbow theories and declares himself in favour of the mirror theory drawn from Posidonius. He pronounces the rainbow to be the reflection of the sun in a moist, hollow cloud. This reflection is distorted due to the defectiveness of the natural mirror which is the above mentioned cloud. The scientific argument in Natural Question 1 is closed by the tale about Hostius Quadra, a sexual deviant who sees pleasures in watching his bodily acts in magnifying mirrors. The link between the scientific discourse and the Hostius episode is supplied by the theme of the rainbow or precisely the mirror and its wrong application by humans. Thus Seneca refers the catoptrical inquiry in the nature to the debate over the moral condition of the Roman society.

LA

In primo libro 'Naturalium Quaestionum' imprimis, quemadmodum arcus fiat, a Seneca quaeritur. Omnis inquisitio, quae ad arcum pertineat, in partes tres dividi posse videtur. Primum, quae ab aliis proposita sunt, exponit, deinde collocutoribus falsis introductis superiora proposita refellit, denique magna cum subtiliate Posidonii opinionem, cui assentitur, exprimit. Illud dubium nulli esse posse censet, quin arcus speculari ratione fiat. Qui visus igitur non ob aliam causam in caelo fit, quam quia roscida concavaque nubes, cui forma pilae sectae est, speculi ratione imaginem solis reddit. Inter argumenta a scriptore ponitur arcus excitari non posse nisi contra solem. Praeterea arcus numquam dimidio circulo maior est, eoque minor quo altior sol est. Colores autem, quibus arcus depingitur, sole efficiuntur, sed cavendum ne illi, quibus species coloris sit, veri habeantur. Quam ob rem philosophus arcum caducam fugacemque effigiem et sine re similitudinem iudicat, quod in arcu nihil corporis certi subest, imago autem, quam in caelo videmus, fallacia speculi est. Seneca tractatis speculis naturalibus, quibus phaenomena admirari possumus, paulum a proposito aberrat, ut de Hostio Quadra, speculorum amatore, fabellam narret. Iste admissarius coitibus spectandis in speculis, quae reddentia imagines longe maiores fecerat, delectatus est. Sed quamvis uterque admirabiliter instrumentum inquisitionis speculum fecerit, Hostius tamen omnibus partibus ab philosopho differt. Quo sequitur, ut speculo, beneficio a natura dato, non solum qui et se ipsos et phaenomena cognituri sint, sed etiam qui voluptatibus diffluant utantur. Postremis verbis scriptor acerbe affirmat vitia hominum in processu esse, quod nequitas undique diffundat. Seneca ergo ad hominum mores etiam inquisitionem naturalium quaestionum refert.

12

Analiza fotograficznego medium w cyklu autoportretów Pawła Żaka pt. Bliski znajomy

51%

Mazela A.

Ogrody Nauk i Sztuk

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2014

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issue 4

633-638

PL

Celem artykułu jest analiza cyklu fotografi i Pawła Żaka pt. Bliski znajomy, a dzięki temu odkrycie również istoty fotografii i jako fenomenu kulturowego. P. Żak jest artystą, któremu dokumentalizm fotografi i nie wystarcza, używa więc metafory zwierciadła do ukazania gry, jaka toczy się między osobą i jej lustrzanym odbiciem, a także między poszczególnymi zdjęciami. Cały cykl z 2004 r. stanowi metaforę wewnętrznego dialogu człowieka z samym sobą, opowieść o ludziach w ogóle, a także o artyście i jego narzędziu – fotografii.

EN

The aim of this article is commentary on Paweł Żak’s photographic series entitled A Close Acquaintance and, through this, to reveal the essence of photography as a cultural phenomenon. Paweł Żak is an artist, for whom the documentary character of photography is not sufficient. He uses the mirror as a a metaphor to show the game between the person and his mirrored image, as in the case of photographs. All series constitute a parable of an internal dialogue of the human with himself. They constitute a story about both a man in general, and about the artist and his tool, photography.

13

Niemoc i wszechmoc narcyzmu. Kilka refleksji na temat anaklastyki

51%

Pacukiewicz M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2020

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vol. 108

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issue 1

70-81

EN

In modern humanities Narcissus, or a narcissist, has become an all-encompassing term that is to warn us against the idle knowledge of oneself and isolation of the individual. Derived from psychology, sociology and poststructuralism, this diagnosis has provided the basis for a common criticism of the Similar and repetition of the Same, while paradoxically favouring the articulation of the source of endless chains of mimetic reflections and behavioural patterns: the original and unique Narcissus elevated to the status of an individual perfectly abstracted from the cultural context. Doesn’t therefore the myth of Narcissus warn against itself? Isn’t the self-reflective antinarcissism of modern humanities becoming what it seeks to criticise? This discourse may undermine the importance of deep mechanisms of culture whose message and preservation rely primarily on repetition and regularity. The article offers an overview of selected proposals that criticise various types of cultural narcissism. It outlines the structure of this phenomenon, taking into account the research proposals of Claude Lévi-Strauss. Analysing narcissism as a modern form of mediation between the subject and the world, the authors try to determine what tools a contemporary narcissist uses to see his or her reflection, what dangerous ontological boundaries are crossed in the process, and consequently, which reflection eventually becomes a reality that he or she presents to others. While the ‘culture of narcissism’ – in psychosocial terms – places the individual at the centre, cultural narcissism seems to consider a community as a reservoir of codes and therefore the primary content.

14

Paralela zwierciadlanych pejzaży narcystycznych w wybranych utworach Leopolda Staffa i Bolesława Leśmiana

51%

Borek B.

Heteroglossia. Studia Kulturoznawczo-Filologiczne

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2019

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issue 9

19-32

EN

The sketch devoted to the parallel creation spaces in the works of Leopold Staff ’s and Bolesław Leśmian’s is an attempt to show the way reality – in which the poets portray – in conjunction with a mirror. In the analyzed works, the lyrics revealing similarities in borderline and epistemological situations in the lives of the heroes of Staff ’s and Leśmian’s were subjected to interpretation. The use and sexual transformation of the Narcissus myth was indicated, using the instruments offered by comparative mythology

15

Lśnienie. Przeglądając się w "Kryjówkach. Architekturze przetrwania" Natalii Romik

51%

Drabarczyk vel Grabarczyk P.

Konteksty - Polska Sztuka Ludowa

|

2023

|

vol. 340

|

issue 1-2

99-104

EN

Nine irregularly shaped and silver-plated casts. Nine three-dimensional maps copying territories of survival – Hiding Places created and inhabited by Jews at the time of the Holocaust, i.a. inside an oak tree trunk, underneath a floor, inside sewers, in a grave. “Sculptures are homage to the architects and engineers who created them” – said Natalia Romik about metal objects on display at the Zachęta National Gallery of Art, accompanying an exhibition presenting the results of interdisciplinary studies on the Holocaust “architecture of survival”. Its non-visual character (a hideout protects against a stalking gaze, an “evil eye”) found in the exhibition a controversial reverse, with the ostentatious, idolatrous glistening of the surfaces of these anti-monuments commemorating those hiding themselves and those who hide them. Silver “resembles mercury, a mirror. It reflects but also deforms” (Romik). Quite possibly similarly to the way our gratitude is deformed, more interested in its own image than in that which is concealed beneath the glistening surface. What do Kryjówki conceal from us and what do they disclose?

PL

Dziewięć odlewów o nieregularnych kształtach, pokrytych srebrem. Dziewięć trójwymiarowych map, które odwzorowują terytoria przetrwania – kryjówki tworzone i zamieszkiwane przez Żydów w latach Zagłady, m.in. w pniu dębu, pod podłogą, w kanalizacji, w grobie. „Rzeźby są hołdem dla architektek i inżynierów, którzy je budowali” – mówiła Natalia Romik o metalicznych obiektach pokazanych w Zachęcie, towarzyszących wystawie prezentującej rezultaty interdyscyplinarnych badań nad holokaustową „architekturą przetrwania”. Jej źródłowa awizualność (kryjówka chroni przed prześladowczym spojrzeniem, „złym okiem”) znalazła na wystawie kontrowersyjny rewers, ostentacyjne, idolatryczne lśnienie powierzchni owych anty-antypomników upamiętniających ukrywających się i ukrywających. Srebro „wygląda jak rtęć, jak lustro. Odbija, ale daje też zniekształcenie” (Romik). Być może na podobieństwo tego, jak zdeformowana bywa nasza wdzięczność, bardziej zainteresowana obrazem własnym niż tym, co ukryte za połyskliwą powierzchnią. Co zatem chowają przed nami, a co odsłaniają Kryjówki?

16

La vanité ou le miroir des faux-semblants dans Chaque heure blesse de Raoul Danaho

41%

Danglades M.

Quêtes littéraires

|

2018

|

vol. 8

166-179

EN

Vanity, in its most general representation, invites us to stop for a moment our race ahead, to set aside our various actions and to ask ourselves about our destiny. Literature, painting often focuses on the fragility of life. It is compared to a breath, a vapor that appears for a short time. Earthly goods, worldly pleasures seem vain and ephemeral and the incessant quest of man equally illusory. Raoul Danaho, in his nov-el Every Hour Hurts, published in 1968 evokes the story of a young man who seeks his own identity and his own place in the world. Albert, this man from Cayenne, ended up in Paris, but he did not find the desired tranquility. There is no attraction to life in his eyes. He must “strive to live”. It feels empty, unable to merge with the surrounding world and the writing of Danaho becomes by the same fragmentary as to “reflect” the vanity of existence. Will Albert seek “vainly” to “continue his journey,” “This groping in the dark, this blind march in the night,” or is the rhetoric of vanity so distended to allow him to find a salutary way? The Rochefoucauld stated with some acuity the following words, referring the man to himself, to his fellows and to the reflecting prism: “What makes us the vanity of others unbearable is that it hurts ours” (1664, 390). We are entitled to ask ourselves whether the light will be able to reach and radiate the human heart.

FR

La vanité, dans sa représentation la plus générale, nous invite à arrêter quelques instants notre course en avant, à mettre de côté nos divers agissements et à nous interroger sur notre destinée. La littérature, la peinture se focalisent souvent sur la fragilité de la vie. Elle est comparée à un souffle, à une vapeur qui paraît pour peu de temps. Les biens terrestres, les plaisirs mondains paraissent vains et éphé-mères et la quête incessante de l ’homme toute aussi illusoire. Raoul Danaho, dans son roman Chaque heure blesse, publié en 1968, évoque l ’histoire d ’un jeune homme qui cherche sa propre identité et sa propre place dans le monde. Albert, cet homme origi-naire de Cayenne, s ’est retrouvé à Paris, mais il n ’y trouve pas la tranquillité souhaitée. La vie ne présente aucun attrait à ses yeux. Il doit « s ’efforcer de vivre ». Il se sent vide, incapable de fusionner avec le monde environnant et l ’écriture de Danaho devient par là même fragmentaire comme pour « réfléchir » la vanité de l ’existence. Albert cherchera-t-il « vainement » à « poursuivre sa route », « ce tâtonnement dans le noir, cette marche aveugle dans la nuit » ou la rhétorique de la vanité se distendra-t-elle donc pour lui permettre de trouver une voie salutaire ? La Rochefoucauld énonçait avec une certaine acuité les propos suivants, renvoyant l ’homme à lui-même, à ses semblables et au prisme réfléchissant : « Ce qui nous rend la vanité des autres insup-portable, c ’est qu ’elle blesse la nôtre » (1664, 390). Nous sommes en droit de nous de-mander si la lumière parviendra à atteindre et à irradier le cœur humain.

17

Sobowtórzenie Witkacego

41%

Dybel P.

Pamiętnik Literacki

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2021

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vol. 112

|

issue 1

57-74

PL

W artykule autor wychodzi od analizy relacji, w jakiej Witkacy pozostaje ze swoimi czterema odbiciami lustrzanymi na znanej jego fotografii „Autoportret wielokrotny w lustrach”. Wydobywając strukturę tych relacji pokazuje, że stanowi ona swoistą metaforę dysocjacyjnej struktury tożsamościowej Witkacego, gdyż każdy z jego zwierciadlanych sobowtórów to jedno z wcieleń jego samego. Zarazem jego dokonujące się na fotografii roz-po-czwórzenie jest punktem wyjścia do dokonującego się później w życiu pisarza sobowtórzenia, czyli nieustannego przybierania przez niego kolejnych póz i masek. Pokazuje też, że odniesieniu pisarza do każdego z jego sobowtórów odpowiadają rozliczne motywy oraz karykaturalnie skonstruowane widmowate postaci w jego dramatach i powieściach. W tym sensie struktura relacji pisarza do jego czterech sobowtórów na „Autoportrecie” może służyć za wyjściowy klucz interpretacyjny w odniesieniu do całego jego pisarskiego dorobku.

EN

The author’s basic principle in the article is an analysis of the relation borne between Witkacy and his four mirror images in the famous photography “Autoportret wielokrotny w lustrach” (“Multiple Self-Portrait in Mirrors”). Extracting the structure of the relations, the paper shows that it is conceived of as a peculiar metaphor of Witkacy’s dissociative identity structure as each of the mirror lookalikes is one of his own incarnations. Witkacy’s dividing-into-four seen in the photography is a starting point to the lookalike-converting taking place in the writer’s private life, i.e. to constant striking poses and putting on masks. The study also shows that the writer’s reference to each of the lookalikes corresponds with the many motifs and caricaturally constructed phantom-like figures in his dramas and novels. In this sense the structure of the Witkacy’s relation to the four of his lookalikes in “Autoportret wielokrotny w lustrach” (“Multiple Self-Portrait in Mirrors”) may be seen as an initial interpretive key in reference to the whole of his literary output.

18

Zróbmy sobie dziedzictwo. Przypadek dwóch wystaw

36%

Budzińska J.

Lud

|

2021

|

vol. 105

294-311

EN

Text is an attempt to compare two exhibitions from National Museum in Cracow: „Polish self-portrait” (1979/1980) and “#heritage” (2017/2018). Analyzed was their potential/method in the field of creation/planning of heritage and identity. Referring to, among others, Gregory Ashworth, Edwin W. Ardener, Eric Hobsbawm, Geneviève Zubrzycki and Jacques Lacan, I analyse the ways of establishing heritage, in terms of arbitrary and contractual.

PL

Tekst jest próbą porównania dwóch wystaw z Muzeum Narodowego w Krakowie - „Polaków Portret własny” (1979/1980) i #dziedzictwo (2017/2018). Analizie poddano ich potencjał/metodę w zakresie tworzenia/planowania dziedzictwa i tożsamości. Odwołując się do teorii m.in. G. Ashwortha, E.W. Ardenera, E. Hobsbawma, G. Zubrzycki czy J. Lacana analizuję, m.in. na podstawie materiałów archiwalnych, sposoby ustanawiania dziedzictwa, traktując je w kategoriach arbitralności i umowności.

19

The Gender Metamorphosis of Narcissus. Salvador Dalí: Metamorphosis of Narcissus

36%

Kalnická Z.

Estetyka i Krytyka

|

2016

|

issue 2(41)

51-76

EN

This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorphoses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in different concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in especially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gender divisions in his visionary leap towards androgyny.

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Utracony wymiar

O tym, co można ujrzeć po drugiej stronie lustra, czyli garść refleksji o odbiciach, tłumaczeniach i wierszach

ÉCHO(S) DU MYTHE DE NARCISSE CHEZ ANDRÉ GIDE : LES CAHIERS D’ANDRÉ WALTER

The use of the mirror in speech therapy

Przyjaciel czy pochlebca? Żona jako lustro w „Zaleceniach małżeńskich” Plutarcha (14, 139f–140a)

History of some antiquities from the collection of Michał Tyszkiewicz in Gródek

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