Search results - CEJSH

1

Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach

100%

Tes U.

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

|

2017

|

vol. 21

|

issue 30

EN

In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.

PL

In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.

2

KOR I TEATR

100%

WACHOWSKI J.

Slavia Occidentalis

|

2018

|

issue 75/2

69-79

EN

The article is an attempt at characterizing the connections between KOR (the Workers’ Defense Committee, established by a group of Polish oppositionists in June 1976) and theatrical practice. Theatrical references are mentioned together with the prevailing literary –regerences in two areas: biographical (the founders of the movement were writers, poets, songwriters, and actors) and ideological. The biographical area also serves as an introduction to the other perspective which can be referred to as ideological. The theatre became a breeding ground for thoughts defying the communist reality. It was a meeting place for the broadly defined opposition, a cradle of ideas hostile to the system based on “workers and peasants” and the alliance with the Soviet Union. The resulting works included politicized performances of the classics as well as performances presented by alterative groups: Teatr Ósmego Dnia: Teatr 77, Jedynka, Provisorium and Teatr Stu. KOR’s activity from 1976 to the beginning of martial law introduced on 13 December 1981 clearly shows that the links between the revolutionary movement and the theater were an important feature of dissident activity and helped to reinforce and popularize its ideological values.

3

ASPECT AND PERFORMATIVITY IN SORBIAN

100%

WERNER E.

Slavia Occidentalis

|

2018

|

issue 75/1

143-149

EN

In all Upper and Lower Sorbian grammars, aspect is a grammatical category, regarded a typical “Slavic” traitin spite of the fact that since Bermel 1994, aspect can be safely said to have evolved separately in the individual Slavic languages. The character of aspect in Sorbian, especially in Upper Sorbian, is highly disputable (and has been disputed since the beginning of the 20th century (cf. Werner 2003). An exception to one of the rules of Slavic aspect (namely that something happening at the time of talking must be expressed by means of an imperfective verb) are the so-called perfomative verbs. This acceptance and the termAktverben go back to Koschmieder 1929 but have never been thoroughly verified for individual verbs in the Sorbian languages. In this paper, the author makes an attempt at shedding some light on the aspect usage of performative verbs in Upper Sorbian.

4

A study of corporate performance factors

93%

Bartłomiejczyk M.

Journal of Management and Financial Sciences

|

2014

|

vol. 17(3)

79-106

EN

The aim of this article is to find out what factors influence the performance of the company. There have already been a vast numbers of studies conducted about the success factors that are common to companies performing better than others under various criteria, such as revenue, profit or value growth. This article researches these findings and summarizes what they have in common. The main goal of it is to prove that there are common factors that contribute to the performance of the companies. The result of this research is a model of a company’s performance factors. Most of the findings of the authors that have researched the area of a firm’s performance suggest that the three factors that influence company performance the most are core values, agility and people.

5

Samospalenie: akt-widowisko. Kilka słów o sprawczej mocy (pewnej) fotografii

93%

Ziółkowski G.

Prace Etnograficzne

|

2014

|

vol. 42

|

issue 2

123–134

EN

Self-immolation is understood in this text as a public act of self-sacrifi ce and a type of altruistic suicide. In order to capture its specifi city it seems necessary to employ a compound category of ‘act-performance’ because – on the one hand – it is an act of sacrifi cial suicide, and on the other – it is carried out publicly and demonstratively, like a performance (i.e. with attention to every element of the event, just as happens in other types of public performance). Acts of this type have become a part of the arsenal of peaceful protest activities since the second half of the twentieth century. Th is happened aft er the media publicized act-performance (11 June 1963) of Vietnamese Buddhist monk, Th ích Quảng Ðức, which becomes the main point of focus in this study.

6

Efektywność zespołów międzyorganizacyjnych w świetle hipotezy bliskości

93%

Klimas P.

Zarządzanie Zasobami Ludzkimi

|

2012

|

issue 1(84)

83-96

EN

This article focuses on issues related to shaping and optimizing the performance of interorganizational team performance as based on the proximity hypothesis. The aim of the paper is to show opportunities for improving the performance of interorganizational teams by maintaining appropriate levels of proximity in their various dimensions. The paper is divided into five parts. It starts with a brief introduction that demonstrated the important role of cooperation among organizations. In the second part, the significance of interoganizational teams in company performance is presented. A synthetic and cross–sectional presentation of the proximity concept forms the core of the third part. Attention is paid to the importance of proximity, identifying its various dimensions. The fourth part shows the relevance of these dimensions in the performance of interorganizational teams as well as the effectiveness of cooperation processes. Finally, conclusions are drawn.

7

Stalker z filmu A. Tarkowskiego jako „jurodiwy” i jako figura twórcy

93%

Lizurej K., Szejko N.

Conversatoria Litteraria

|

2018

|

issue 12

209-221

PL

The film Stalker by Andrei Tarkovsky is based on the novel Roadside Picnic byStrugatsky Brothers and it presents real and metaphoric travel of the mainprotagonist, Stalker, through the enigmatic Zone in search of ontological true.Stalker’s naivety and complete devotion to his mission resemblesfeeblemindness, that is why he could be described as ¨yurodivy¨, fool for Christaccording to Eastern Orthodox ascetism. In our paper we also analyze Stalker asperformer and artist that dedicates absolutely to his ideals.

8

Hermanna Nitscha Teatr Orgii i Misteriów jako powód do zgorszenia?

93%

Wałczyk K.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2012

|

issue 4

46-62

EN

Hermann Nitsch, a representant of the „Viennas Actionism” (germ. Wiener Aktionismus) initiated in the late 1950’s of the XX-century the so called „Theatre of orgy and mystery” (germ. Orgien-Mysterien-Theater). This is a kind of syncretic performance, which combines the elements of the ancient Greek Dionysius feast and Catholic liturgy. The author stages an offering of animals, giving to it the form of religious liturgy. In his ceremonies, the offering ist not meant to be an medium of contact with a higher, divine power, which would result God’s blessing (according to the principle of mutual giving each other). The naturalistically performed rite by Nitsch should help to act out impulsive needs, especially aggression, which has been pushed into the subconscious. The motto of Nitsch’s actions should be: one should be exposed to death in order to experience the spiritual rebirth. It’s highly debatable practice to combine the elements of ancient Greek Dionysius ceremony with the Christian liturgy, as well as to reduce their meaning just to abreaction of biological needs. The contact with higher, divine reality has been here replaced by the naturalistic performance.

9

„MÓWIENIE JEST CZĘŚCIĄ PEWNEJ DZIAŁALNOŚCI, PEWNEGO SPOSOBU ŻYCIA”1. O KOMPETENCJI LINGWISTYCZNEJ JAKO KOMPETENCJI GIER JĘZYKOWYCH

93%

Szczepaniak J.

Acta Neophilologica

|

2013

|

vol. XV/1

191-200

EN

This paper presents one of the possibilities of a new view at the notion of linguistic competence based on the concept of language games by Ludwig Wittgenstein. In contrast to “mental” perception of language competence as universal grammar encoded in genome, it underlines the importance of performativity and mediality. The understanding of a message content refers necessarily to how we use words in specific language games and how we cope with various sign systems and media spaces. The concept of language games competence proposed by a German researcher Jan Georg Schneider is based on the latest, culture related research concerning mediality issues (including in particular transcriptivity as presented by Ludwig Jäger), performativity and theory of language.

10

António Vieira: prolongada presença, voz profética e performance

93%

Pires Ferreira J.

Studia Iberystyczne

|

2014

|

vol. 13

163-171

EN

The present study examines the works of Father António Vieira, focusing on prophecy and performance.

11

Pamięć a perspektywa dramaturgiczna w działaniach artystycznych Ołeny Kostiuk

93%

Jakubowska-Krawczyk K.

Studia Ucrainica Varsoviensia

|

2016

|

vol. 4

525-533

PL

In this paper I analyze the way of construing memory and identity in the works of Lviv-based artist Olena Kostiuk. I place particular emphasis on two of her projects: The Orchard and The Mirror. In both of them the artists refers to Ukrainian archetypes, testimonies and material remnants of the past, using them in her performance, forcing the audience to rethink human condition as well as their own attitude towards the past, the tradition, and the nation.

12

O przeszłości. Dylematy przedstawiania w archeologii

93%

Marciniak A.

Rocznik Antropologii Historii

|

2013

|

issue 1(4)

17-54

XX

The purpose of this article is to present and critically evaluate various forms of representation of the past based on the material remains of the past, proposed in professional archeology and by non-academic groups interested in the past. The strategies of representation allow the conceptualisation, interpretation and understanding of various aspects of life in the past and respond to the needs of the individuals and groups that create them. In particular, I analysed various forms of narrativisation, visualisation, and means of experiencing the past that are present in archeology and in the public sphere.

13

JEWREINOW W POWOJENNEJ POLSCE. (UWAGI O SPEKTAKLU TEATR ODWIECZNEJ WOJNY TEATRU WYBRZE􀄩E)

93%

Gracla J.

Acta Neophilologica

|

2015

|

vol. XVII/1

95-102

EN

The present artile dealt with the post-war production of the stage play Theatre of the Eternal War by Nikolai Evreinov. The author discussed the history of stage presentations of Jevrenov’s drama in Poland. Then she developed the topic referred to in the title of the play in focus. Theatre of the Eternal War was presented in the Wybrze􀄪e Theatre in 1967. Skillful costruction of the scenography, which only apparently resembles a naturalistic one, made it possible to maintain the sense as well as the humour of the text, which is difficult when a stage production of an author’s plays is made many years after the works had been written. In case of the performance discussed in this paper the division theatre/reality, typical for Evreinov, was succesfully maintained.

14

Divadlo jako koncertní sál pro pražskou umělkyni. Vystoupení Barbary Koželuchové ve Stavovském divadle

93%

Mikulášová L.

Hudební věda (Musicology)

|

2013

|

vol. 50

|

issue 1-2

63-70

EN

This study examines the life and performing artistry of the pianist Barbara Koželuchová (1781–1821), daughter of Johann Anton Koželuch (1738–1814), an important Prague composer and choir director at the Cathedral of St Vitus. On the basis of period reports in the Bohemian and foreign press, it also discusses her performances at the Estates Theatre. During the eighteenth and nineteenth centuries, the theatre building also served the function of a concert hall where leading Bohemian and foreign performers appeared.

15

Ogólna teoria aktora? O tradycyjnej metodologii badania aktorstwa filmowego w perspektywie performatyki

93%

SKRZYPCZAK P.

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

|

2016

|

vol. 19

|

issue 28

15-34

EN

The General Theory of the Actor and Acting? On the traditional methodology of research in the domain of film acting from the perspective of the theory of performing These reflections concern film acting, or to be more exact, the canonical three-stage research scenario, i.e. description, analysis and interpretation. They require a methodological interdisciplinary confluence of multiple strands, beyond the confines of a monolithic methodology.At a certain stage of the methodological reflections on acting (performing) there emerged a tendency to employ various disciplines. I would like to call it “the general theory of the actor and acting” or “the theory of performing”. The theory of performing, in fact, brings together such realms as anthro- pology, semiotics, phenomenology, aesthetics, the theory of literature, the psychology of perception of on-stage and on-screen representations, and, in a narrower sense, also studies on facial expression, diction and prosody, gesture and kinesics. However, in the most rudimentary sense it does consider the fundamental role of the actor and acting to be the focal point of discussion - the question of the very performance.Does the theory of performing explore the phenomenon of film acting (performing), and if so, to what degree is it the case? Two reference points for this issue seem to emerge.The first concerns the very choice of the object for analysis, involving such dimensions as relational networks of multiple actions regarding the actor and the process of acting, resulting in the creation of the character in a given film. The other, directly related to the first, concerns the very point of departure in the exploratory research process. How does the profile of the actor emerge due to such procedures as camera-work, montage, dubbing or motion control? It seems that what should be at the very centre of attention of the general theory of actor and acting is the actor-as-a-real-person, the interpreter of his own role-play, and also the subject of the actions involving the constructive process of a given film role, which results in the final on-stage/on-screen effect. We ought to pose the question of whether or not he is merely an acting element inhabiting the situation of the shooting within the confines of the camera-work. The theory of performing is not so much focused on the actor as an analog of a real human being (the fact that should be considered positively), but is focused on the actual acting process, the process of performing, first and foremost, the autonomous performer. Hence, another question arises: who is the character in the on-screen mode of existence? What is his real identity? The general theory of the actor and acting strives to answer this question from multiple viewpoints, from the viewpoints of anthropology, structuralism, deconstruction theory, as well as in terms of the most promising approaches (in my opinion), namely the cognitive and phenomenological stances. Here the floor is open for discussion.

16

Podejmowanie decyzji personalnych w świetle badań firm województwa opolskiego

93%

Karczewski L.

Prakseologia

|

2006

|

issue 146

159-170

EN

In this paper, the author presents the results of his inquiry on personal management in 103 companies of Opole region. In the light of the inquiry it appears that personal connections are claimed by 51% of respondents to be important in Staff recruitment, although 88% respondents do not accept this. 96% of the inquired people are convinced that the managing board is obliged to prior inform the staff about the planned redundancy, and 57% expect essential aid from the employer to find a new job. Also, according to employees, the roles of job seniority (62%) and personal connections (44%) are important in rewarding the staff. However, the employee’s role in realizing the company’s longterm targets in rewarding the staff is seen as minor (31%). A positive aspect of personal management is that a considerable number of companies (43%) already apply assessing systems and employees accept them. Yet, we still lack modern staff assessment systems in our companies e. g. 3600.

17

Expensive and cheap funds – Polish stock mutual fund fees in 2017

93%

Fraś A.

Nauki o Finansach

|

2018

|

issue vol. 23 no. 4

38-49

EN

Mutual fund fees are extraordinarily high in Poland – almost three times higher than in Western Europe and almost five times higher than in the United States. In fact is that from among 183 Polish open-ended stock mutual funds as many as 81 impose a management fee of 4%, which is the highest value in the sample. The question arises whether it is really worth to invest in funds from the more expensive group. Comparing funds charging the highest fees (4%) with the cheaper ones it seems that there is no statistically significant difference between rate of return, risk and efficiency. However, more expensive funds have on average higher costs, are three years older and have almost 70% bigger assets. This may suggest that a well-established market position – not performance – is the trigger for raising their fees. Interestingly, funds with a relatively high minimal initial contribution level (5,000 PLN) have significantly lower management fees with similar costs, total assets value and performance results. Further analysis has also indicated that the costs level (Total Expense Ratio) is higher for older funds, while it is not related to funds’ size.

18

Interpretacje sceniczne rosyjskiej dramaturgii pierwszego trzydziestolecia XX wieku na scenach polskich (Tango Oberiu 1928. Rewia pure nonsense z ponurym zakończeniem)

93%

Gracla J.

Acta Polono-Ruthenica

|

2015

|

issue 20

25-31

EN

The paper is the attempt to compare the text of Daniil Kharms Yelisaveta Bam and her free theatrical production made in Rozrywka Theatre by Łukasz Czaja. The author considers similarities of the text and scenography, reflecting not only Charms’ assumptions but also producer’s stage concepts of The Great Reform of the Theater. The author also points out differences making a show out of Charms’ performance, closer to modern viewer, however, leveling the signs and atmosphere of the times when Charms’ drama was created.

19

Performans w lodach

93%

Szpakowska M.

Pamiętnik Teatralny

|

2020

|

issue 4(276)

171-180

EN

This article discusses Tomasz Kubikowski’s book Zjadanie psów [Dog-Eating] (Warszawa 2019), which combines the story of nineteenth-century polar expeditions – by John Ross, William Edward Parry, John Franklin, Elisha Kane and Fridtjof Nansen – with the concept of performance as “restored behaviour,” taken expertly from Richard Schechner. Excellently written, almost like a travel-adventure novel, the book presents Arctic exploration as a sequence of performances that owed their social significance to stories; without a story, getting to the pole was hardly worth the trouble, and all the above-mentioned explorers left such accounts. Kubikowski treats them as anthropological narratives, “stories of someone else’s experience”; he also reads in them what their authors were not aware of: for example, that the natives and their culture were completely invisible to the adventurers. The theoretical background of the book is rather complex, as the author has engaged with performance studies for almost twenty years, yet the book is (deliberately) written in such a way as to be enjoyed also by those who do not care for theory.

20

Data quality and accounting information systems: Actual performance in Albania

93%

Zoto E.

Perspectives of Innovations, Economics and Business

|

2014

|

vol. 14

|

issue 1

34-41

EN

Data quality is crucial in today’s business processes, as it is generally associated with the set of data fit for use by data consumers - the persons that access, interpret and use data during their work activity. On the other hand, data quality is very important for the Accounting Information Systems’ (AIS) success, where AIS is a computer-based system that processes financial data and supports the decision making processes inside the organization. There are empirical evidences showing that data quality level in AIS has been and will always be problematic. Their interrelationship is dependant of several factors, including technical capacities or even the level of teamwork in an organization. This paper tries to analyze the actual performance of the factors influencing in the process of data quality in AIS used from organizations in Albania. The results will be compared with state-of-art literature review regarding the factors perceived as critical factors in ensuring data quality in AIS, giving way to some important concluding remarks.

Refine search results