Search results

1

Chrystus św. Jana od Krzyża. Salvador Dalí jako ekscentryczny mistyk i postmodernista

100%

Michna N. A.

Estetyka i Krytyka

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2015

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issue 1(36)

77-92

EN

This article is an attempt to both artistic and aesthetic analysis of Salvador Dalí’s Christ of St. John of the Cross as an image representing the main demands of the postmodern aesthetics. The applied research perspective allows to go beyond the traditional relation between postmodernism and the Great Avant-garde. This relation is based on indicating of what postmodernism took over from the earlier trends of avant-garde and surrealism in particular. The proposed reverse perspective refers to another, enriching relationship. It points directly at the early surrealistic discoveries which were used in a field of twentieth century art long before the rise of the postmodern aesthetics.

2

Xavier Forneret odczytany przez surrealistów i czytany Norwidem

100%

Kowalska M.

Przegląd Humanistyczny

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2017

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vol. 61(4 (459))

173-184

PL

The author discusses the history of Xavier Forneret’s (1809–1884) reception focusing on the trend which portrayed the Romantic as a surrealist and a precursor of vers libre. At the heart of the considerations there is the volume Vapeurs, ni vers, ni prose (1838) regarded as exceptional in both the publishing format and the content. The author, however, argues that the poet’s innovation can also be seen in his presentation of typically romantic themes: love, death, poetic vocation, as well as oneiric poetics. The last part of the article is a comparative analysis of the Forneret’s poem “Elle” and Cyprian Norwid’s poem “Polka” [Polish Woman], which allows showing both romantic anticipations and traditional forms of poetic description of a woman.

3

Między literaturą, filmem i rzeczywistością: o problemach z adaptacją Wojny polsko-ruskiej

100%

Sołodki P.

Rocznik Komparatystyczny

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2014

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vol. 5

p. 265-279

EN

The article concerns the results of transferring debut novel of Dorota Masłowska to silver screen, the novel which, as could be assumed, cannot be transferred successfully. The language of the book’s narrator influences strongly on the shape of the world created in the book, the story is filled with surrealistic visions, the characters are tangled in (linguistic) reality, ideologies (xenophobia and cosmopolitanism, radical ecology and “civilization of death”, liberalism and conservatism) and cultural clichés. The movie of Xawery Żuławski conducts – in my opinion – a fine adaptation, translating elements of the linguistic style into film style, and using for it such components as dialogues, acting, ways of deforming film world with specific formal endeavors as well as emphasizing fictional character of diegesis by introducing a character of Dorota Masłowska (played by her own) in the process of writing the very book and confronted directly with the invented characters.

4

Les anthologies surréalistes : l’élaboration collective d’un genre littéraire hybride

100%

Mannu R.

Quêtes littéraires

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2016

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issue 6

74-80

EN

Published for the first time in 1940 the André Breton’s Anthology of black humor inaugurates the great season of surrealist anthologies, which will last until late 60s. The use of the traditional form of the modern anthology by the Surrealists, does not involve into a complete acceptance of its rules, already codified since the end of the 19th century, but rather a deformation of its textual structure and of its objectives, producing a literary genre with particular characteristics. The surrealist anthology, such as those realized by André Breton, Paul Éluard, Louis Aragon and Benjamin Péret, represent an hybrid literary object with structural elements in common with the dictionary, the glossary, the anthology and the catalogue. The surrealist literary collections represent both a different approach to the history of literature and an expression of surrealist poetics.

5

Borysa Popławskiego Uwagi o poezji: autorskie credo a wyobraźnia tłumacza

100%

Ojcewicz G.

Acta Polono-Ruthenica

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2018

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vol. Tom 2 Nr XXIII

97-105

EN

Boris Poplavsky’s Notes on Poetry: the author’s credo and translator’s imagination

6

Liminal Space in J. G. Ballard’s Concrete Island

100%

Tereszewski M.

Text Matters: A Journal of Literature, Theory and Culture

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2019

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issue 9

345-355

EN

This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces-motorways, airports, high-rises, deserts, shopping malls, suburbs-have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.

7

WPŁYW MALARSTWA SURREALISTYCZNEGO NA REKLAMĘ WSPÓŁCZESNĄ

100%

Bednarska S.

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2012

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vol. 11

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issue 1

EN

The purpose of this article is to examine the influence of surrealistic painting on contemporary advertising, taking into consideration the differences in use of surrealistic references on three levels of literalness: advertisement citing specific, surrealistic images, advertisement made of mosaic of various borrowings from surrealistic painting, finally advertisement created in a surrealistic manner, considered as a type of post-surrealistic masterpiece. To begin with theoretical issues connected with postmodern culture of image, the phenomena of contemporary advertisement and its intertextual relations with art, author tries to find answers on following questions: Why surrealism became so attractive material for advertisement? Is it possible, to acknowledge advertisement profiting from surrealistic painting, as an example of postmodern statement? Is it valid, basing on its example, to treat about the type of transgression in contemporary advertisement? The conclusions of this analysis include: purpose and function of use of surrealism in advertisement, the role of visual layer, disappearance of persuasive function to the benefit of strengthening the esthetic function and inscribing advertisement into postmodern paradigm of culture.

8

Sculptural object of desire: eroticism in Michel Leiris’s Aurora

88%

Trzeciak K.

Estetyka i Krytyka

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2015

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issue 2(37)

105-114

EN

The article deals with sculptural metaphors presented in Leiris’s Aurora in relation to eroticism. Aurora is the name of the the surrealist novel’s central female figure, who appears in the stories of all the different male characters. All of the men ‒ the narrator and subsequent characters ‒ are searching for a point of stabilisation of their own subjectivities, which are losing their integrity and cohesion. The phantasm of Aurora, a Medusa‑like woman, is the only entity that guarantees petrification, and therefore can stabilise subjectivity. Eroticism connected to sculptural forms and Aurora’s ability to be at once a petrifying Medusa and an animating force of nature shows the paradoxical condition of the language and the illusory nature of any male character’s hopes for constructing stable subjectivity.

9

Traduire la métaphore surréaliste. Nadja d’André Breton, le merveilleux et ses traductions en anglais et en italien

88%

Collani T.

Między Oryginałem a Przekładem

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2017

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vol. 35

37-64

EN

Starting from Michael Riffaterre’ analysis of conceits (or long metaphors) within the Surrealist literary production (1969), this article aims to take into account the metaphorical code’s lexicon as well as the expressions forming the dense network of images which constitutes the Surrealist marvelous. The corpus is focused on André Breton’s Nadja (in its two French editions of 1928 and 1963), as well as on its English translation (by Richard Howard in 1960) and Italian translation (by Giordano Falzoni in 1972). After tracing in texts source a set of essential and sensitive words for the creation of the marvelous effect within the Surrealist production, we will see how the target texts take into account the rational analogies canvas woven by Breton.

10

The Surrealist Image of Hell in Vasyl Stus’s Poetry based on "Merry Cemetery"

88%

Mościszko M.

Slavia Orientalis

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2019

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vol. LXVIII

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issue 1

11

Surrealist Senses: Marcel Jean’s Representations of Budapest

88%

Balázs I. J.

Acta Universitatis Sapientiae, Philologica

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2013

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vol. 5

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issue 1

17-31

EN

The paper analyses the spatial representations and the self- representajtions of the surrealist author Marcel Jean in his late autobiography entitled Au galop dans le vent, where he reflects upon his life and upon the seven years that he spent in Budapest with his wife between 1939 and 1945, and also in his book Mnésiques, published in 1942 in Budapest. In this latter book the presence of the surrealist mythology of transformation can be interpreted as a representation of the dislocated self, Au galop dans le vent showing the historical and biographical contexts of these experiences.

12

Dzieje grzechu, czyli kontrowersje wokół polskiej recepcji twórczości filmowej Waleriana Borowczyka

88%

Kwas P.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2012

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issue 4

105-112

EN

Worldwide Walerian Borowczyk is known as a vanguard artist. In Poland, however, his works have been always divided into two categories: the “real art”, eg. his animated films made with Jan Lenica and “all the rest”, usually called “controversial” or demoralizing”, made abroad. Borowczyk’s late works (such as Immoral Tales, 1974, The Beast, 1975, or Emmanuelle V, 1987) confirmed his image of a pornographer, an iconoclast and controversial yet repetitive creator constantly shocking with (cheap) erotica. In that context, an insight on the reception of Borowczyk’s cinematic works in his homeland seems particularly interesting. An analysis of the aforementioned problem is followed by an attempt to find all the possible sources of such particular reception of the works of Walerian Borowczyk. He was a director viewed either as a pornographer or an uncompromising icon of bold film productions – the first real surrealist of Polish cinema.

13

U źródeł chaosu. Relacje słowa i obrazu w Czarnych kartach grupy Oneiron

88%

Szweda J.

Przestrzenie Teorii

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2022

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issue 37

45-70

EN

The article presents the first extended discussion of the structure of Oneiron’s Black Cards – the neoavantgarde project connecting image and word. Using literary instruments, the author attempts to read this work on three basic levels: the perception of the series, the analysis of the space of every single card, and an attempt to decipher the autonomous “micro-works” falling into the card area.Multilayerism refers to the original premise of the creators. Thanks to their collective and aleatory work, Black Cards were meant to reflect the game of the subconscious. This reading of the Cards on three levels is aimed at identifying the sources of inspiration of the artists participating in the workand determining the role of words and literature in this multifaceted intention.

14

Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)

87%

Kafel M.

Przestrzenie Teorii

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2018

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issue 29

127-151

EN

The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create literature that transcends traditional ontological frameworks. Jazz is also an illustration of aspirations to independence in artistic and social fields, as well as a means of conveying philosophical ideas and reaching the subconscious.

15

Postawa surrealistyczna, czyli w stronę "nowej, krytycznej hermeneutyki"

87%

Kornhauser J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

55-69

EN

The aim of this article is to discuss the crucial difference between the notions of ‘avant-garde’ (from Lyotard’s or Danto’s essays) and Perloff’s or Bolecki’s ‘modernism’ and to suggest a new, exclusive rather than inclusive, approach to literary studies, based on the experimental theory and poetics of Surrealism. This so-called “surrealist attitude” could be applied in the literary and cultural studies as a twofold paradigm: on the one hand, it focuses on the verbal or textual aspect of the avant-garde experiments (utilizing Bürger’s or Barthes’ theories), on the other hand, it gives an opportunity to acknowledge their anthropological or sociological character marked by Baudrillard, Danto, Foster, or Krajewski. In this perspective, the substantial process of abandonment of reality (Lyotard), which stands for the dominant element of the avant-garde aesthetics, could be connected with the crisis of represetation and with the binary nature of the objects (simultaneously, the textual/internal and contextual/exteral forms).

16

Rojaliści i Krasnoludki wychodzą na ulicę. Kultura kontestacji w działaniach ruchu České děti i Pomarańczowej Alternatywy

76%

Balcerzak M.

Poznańskie Studia Slawistyczne

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2014

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issue 6

EN

This article is an attempt to compare two contestation models, that occurred in the activities of new social movements formed in the 80s of the twentieth century in Czechoslovakia and Poland (Czech Children and Orange Alternative). Both movements are the examples of the changes taking place in the process to form of political and social opposition to the communist regime. The article describes the relationship between political commitment and understanding of the aesthetic function (influence of surrealism) in the culture of opposition.

17

Gherasim Luca: Pragnienia pragnienia

75%

Kornhauser J., Luca G.

Śląskie Studia Polonistyczne

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2021

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vol. 17

|

issue 1

EN

A short prose by Gherasim Luka, one of the leading representatives of Romanian surrealism of the 1940s, reflecting the author’s interests in occultism and psychoanalysis on the one hand and the theory of a surreal object on the other. This work documents a combination of the poetics of “orthodox” surrealism with strictly autobiographical narration based on personal experience.

PL

Krótka proza Gherasima Luki, jednego z czołowych przedstawieli rumuńskiego surrealizmu lat czterdziestych XX wieku, która świadczy o zainteresowaniu autora okultyzmem i psychoanalizą z jednej strony, teorią obiektu surrealistycznego z drugiej. Utwór jest świadectwem zestawienia poetyki „doktrynalnego” surrealizmu ze ściśle autobiograficznym, opartym na osobistym doświadczeniu, zapisem.

18

Gherasim Luca: Czerwone echo

75%

Kornhauser J., Luca G.

Śląskie Studia Polonistyczne

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2021

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vol. 17

|

issue 1

1-4

EN

A short prose by Gherasim Luka, one of the leading representatives of Romanian surrealism of the 1940s, reflecting the author’s interests in occultism and psychoanalysis on the one hand and the theory of a surreal object on the other. This work documents a combination of the poetics of “orthodox” surrealism with strictly autobiographical narration based on personal experience.

PL

Krótka proza Gherasima Luki, jednego z czołowych przedstawieli rumuńskiego surrealizmu lat czterdziestych XX wieku, która świadczy o zainteresowaniu autora okultyzmem i psychoanalizą z jednej strony, teorią obiektu surrealistycznego z drugiej. Utwór jest świadectwem zestawienia poetyki „doktrynalnego” surrealizmu ze ściśle autobiograficznym, opartym na osobistym doświadczeniu, zapisem.

19

„Księgi Justynine”. O biografii Justine Frank

75%

Magnone L.

Poznańskie Studia Polonistyczne. Seria Literacka

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2019

|

issue 35

237-251

EN

The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilities and limitations of feminist criticism, as it points out the problem of fabrication of the indispensable precursors.

20

Dalí, Disney and Destino: Alchemy in Animation

75%

Allen D.

Text Matters: A Journal of Literature, Theory and Culture

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2020

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issue 10

49-66

EN

Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self. In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind and matter”; they are animated presences, with a life of their own. The Dalínean double-image is itself a kind of alchemical magic, invoking the “transmutation of bodies.” In 1946, Dalí began work for the Walt Disney Company on a short film, Destino. This would be, he claimed, the “First Surrealist Cartoon.” The appeal of animation for him may have been based in part in what Eisenstein termed “plasmaticness”: the “ability to dynamically assume any form.” Animation, then, may be seen as a kind of “chemical theatre.” As a “realm between mind and matter,” it also functioned for Dalí as a form of mundus imaginalis, in which he could engage with the “obsessing” images in his psyche. In Destino, Dalí invoked the alchemical process as a journey to tranfiguration and psychological “rebirth.” The film was not completed in his lifetime; this account is based on the original storyboards which he produced.

Refine search results

Chrystus św. Jana od Krzyża. Salvador Dalí jako ekscentryczny mistyk i postmodernista

Xavier Forneret odczytany przez surrealistów i czytany Norwidem

Między literaturą, filmem i rzeczywistością: o problemach z adaptacją Wojny polsko-ruskiej

Les anthologies surréalistes : l’élaboration collective d’un genre littéraire hybride

Borysa Popławskiego Uwagi o poezji: autorskie credo a wyobraźnia tłumacza

Liminal Space in J. G. Ballard’s Concrete Island

WPŁYW MALARSTWA SURREALISTYCZNEGO NA REKLAMĘ WSPÓŁCZESNĄ

Sculptural object of desire: eroticism in Michel Leiris’s Aurora

Traduire la métaphore surréaliste. Nadja d’André Breton, le merveilleux et ses traductions en anglais et en italien

The Surrealist Image of Hell in Vasyl Stus’s Poetry based on "Merry Cemetery"

Surrealist Senses: Marcel Jean’s Representations of Budapest

Dzieje grzechu, czyli kontrowersje wokół polskiej recepcji twórczości filmowej Waleriana Borowczyka

U źródeł chaosu. Relacje słowa i obrazu w Czarnych kartach grupy Oneiron

Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)