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Odcieleśnione ciało w filmie Nakarmić kruki Carlosa Saury

100%
Kulessa K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 25
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issue 34
180-188
EN
This article aims at providing an analysis of Carlos Saura’s Cria Cuervos [Raise ravens, 1976], focused mainly on the temporal and spatial structures of the film. It explores the dimensions of bodily presence, especially the means of representing spectral body in cinematic image.
2
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Spectrality and Historical Interpretation. In Search of a Category of Counter-Time

81%
Bugajewski M.
Historyka Studia Metodologiczne
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2021
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vol. 51
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issue Spec. iss.
7-16
EN
In this article, I will sketch a particular way of thinking about existence in time, the consequence of which would be practicing historiography as a response to the voices of the dead coming from the past. This theoretical conception of history tries to understand history not so much as an unfolding process of succession over time but as some community of the living and the dead. If the voices of the dead, defined in terms of spectrality, are to be active somehow in the present, they cannot be prematurely suppressed by gestures of closing the past understood as blocking the transmission of these voices to the future. After analyzing the problem of false closures in history, I am trying to understand spectrality that would combine both past and present activity. The article aims to propose tasks for a historiography that would consist in regaining in con-temporary culture the ability to hear the voice, the gaze, and the expectations coming from the past, present in various forms which can be grasped by an encompassing notion of spectrality. Reflection on spectrality brings us closer to the meaning of the concept of counter‑time.
3
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“LET ME GO, IF YOU WANT ME TO LET YOU IN”: THE GHOSTLY CIRCLE IN CARYL PHILLIPS’S THE LOST CHILD

70%
Stefanova S.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2017
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vol. 9
41-69
EN
The present article argues that the examination of the significance of Gothic motifs in Caryl Phillips’s The Lost Child (2015) reveals the author’s approach to unresolved individual and collective traumas that haunt his protagonists, but also his texts. The intricate interaction between the circular structure of the novel and the theme of historical and generational cyclicity requires a special attention to the journey trope and its spatial markers. The title of this essay is borrowed from Chapter III of Emily Brontë’s Wuthering Heights (1847), The Lost Child’s canonical intertext, in which Catherine’s ghost appears at the window and begs Lockwood to let her in. Drawing on some concepts developed by Derrida in his Specters of Marx (1993), the essay explores the meaning and function of spectrality and how it relates to circularity and to Phillips’s commitment to justice, which goes beyond remembering the “lost children” of the past, to actually let them in the present.
4
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In-between Wor(l)ds: Spectrality in Banville’s Eclipse and Beckett’s Fiction

70%
Tereszewski M.
Anglica Wratislaviensia
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2014
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issue 52
41 - 49
EN
This article examines the role of ghosts in John Banville’s Eclipse and Samuel Beckett’s fiction as it relates to the concept of hauntology coined by Derrida in Specters of Marx. Particular emphasis is placed on how spectrality destabilizes one of the most salient themes in both Banville’s book and Beckett’s fiction; namely, self-definition. In both Beckett’s fiction and Banville’s Eclipse the reader is presented with a protagonist whose solipsistic self-examination stages what is, in effect, the impossibility of self-expression. Among the many similarities between Banville’s and Beckett’s work, one other theme that is of primary interest for this article is related to the various images of ghosts who, as interstitial phenomena, bring to the fore the ontological, or, to use Derrida’s homonym, hauntological ambiguity of literature. Hauntology brings to light the in-between, unfixed ontology of the self as a textual entity and is, therefore, a particularly fruitful theoretical backdrop to both Beckett’s and Banville’s conceptualizations of self-discovery.
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(Nie)żywe obrazy. Widmowość i cielesność filmowych zwierząt

58%
Matuszewski M.
Kwartalnik Filmowy
|
2020
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issue 111 Zmysły i afekty
71-86
EN
(Un)dead Images. Spectrality and Corporeality of Animals in Film
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