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1

Ambiguity and the uncanny in Henry James’s The Turn of the Screw and its Polish translations

100%

Sowiński B.

Między Oryginałem a Przekładem

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2017

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vol. 35

23-35

XX

Henry James’s The Turn of the Screw poses an interpretative challenge to its researchers, readers, and translators. The unique character of the novelette, which is surrounded by the aura of the uncanny, is closely related to the ambiguous narrative and linguistic devices used by the author. Major interpretations of the text followed Gothic, Freudian, and metanarrative approaches. The paper sets out to investigate the extent to which the translations proposed by Witold Pospieszała and Jacek Dehnel adhere to any these approaches and whether and how they try to deal with the ambiguities that make James’s masterpiece so uncanny.

2

The Interplay of the Domestic and the Uncanny in Susanna Clarke’s Jonathan Strange and Mr Norrell

88%

Borowska-Szerszun S.

Crossroads. A Journal of English Studies

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2015

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vol. 9

EN

This article examines the effects resulting from the interplay of the domestic and the uncanny in Susanna Clarke’s Jonathan Strange and Mr Norrell, a novel that boldly blends the conventions of the novel of manners and Gothic fiction. Analysing the selected key elements of the story, it is argued that while the uncanny is domesticated for a considerable part of the narrative, in the Gothic layer of the novel the mechanism of the uncanny is used to bring to light repressed voices. In the process, the long-established sources of inspiration for fantasy literature are rejected, and the nineteenth-century tradition of women’s writing, in both its realistic and Gothic threads, is used to reinvigorate the thematic and structural repertoire of the genre.

3

Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

76%

Izdebska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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issue 30

325-338

EN

The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.

4

Nadnaturalny horror w Google Street View. Estetyka niepokoju a obrazy ładu w przestrzeni miejskiej

75%

Nahirny R.

Studia Etnologiczne i Antropologiczne

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2015

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vol. 15

65-80

EN

Images constituting the world of Google Street View most frequently represent order in urban public space. We use this application for directions and trip planning. But we can also look at Street View images differently. The author of the article analyzes creepypasta stories (anonymous short scary online legends posted on various message boards) that are happening in the visual world created by Google. The main objective is to describe elements creating the aesthetics of anxiety and strategies used to construct the experience of the uncanny in the world of Street View.

5

Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’sTetsuo: The Iron Man(1989)

75%

Player M.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

167-189

EN

Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.

6

LIENACJA I WYKLUCZENIE W FILMACH DAVIDA LYNCHA

75%

Zegarlińska M. w.

Zeszyty Naukowe PUNO

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2016

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issue 4

123-140

EN

The article presents David Lynch’s treatment of the themes of alienation and exclusion in his films. It shows the relation between the director’s biography and his cinematic visions. The analysis comprises the majority of Lynch’s oeuvre – from the short lm Grandmother and his feature debut Eraserhead, through ge Elephant Man and Twin Peaks to the Hollywood trilogy (Lost Highway, Mulholland Drive, Inland Empire). In each of these films the protagonists are either excluded from society or alienate themselves from the outside world. e repertoire of characters that Lynch depicts in his cinematic creations is versatile: abused children, teenage rebels, adults who are unable to form a healthy, loving relationship, incestuous rapists and psychotic murderers with split personality, to name only a few. All of them struggle with their identity and aim to run away from the crude and disappointing reality of their lives. e measures that they undertake are sometimes drastic and portrayed in detail by Lynch, which is one of the main sources of Freudian uncanny in the director’s films. Another signicant aspect that is discussed is how particular characters are excluded from society due to their physical disgurement, mental illnesses or unconventional behaviour. e conclusion discusses how Lynch creates his beautiful language of cinema.

7

Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

75%

Chryssouli G.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2015

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vol. 18

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issue 2

303-328

EN

This article explores the relation of Jan Švankmajer with the Czech puppet tradition, viewing his puppetry through a Surrealist prism and investigating the role of puppets in his work, as simultaneously inert objects and animated creatures that cross the dichotomous line between life and death, thereby raising questions in relation to human nature and identity. Jan Švankmajer is a leading Czech filmmaker and artist and a self-proclaimed militant surrealist. His work is characterised by a diversity of means and techniques, these include: live-action, puppets, clay modelling, traditional drawn animation, object collage, stop-frame special effects and stop-motion animation. Švankmajer’s fascination with the corporeality of an animated entity has been developed through a deep and strong affinity with traditional Czech theatre. His own professional background in the puppet theatres of Prague, the Theatre of Masks, the Black Theatre and the Laterna Magika Puppet Theatre has significantly influenced his work. Švankmajer’s work is the bearer of a magic function, revealing the marvellous through mystification. Švankmajer, like the alchemists of old, is continually distilling the water of his experiences so that through this process, the heavy water of knowledge, essential for the transmutation of life, begins to flow.

8

Glitch as the Representation of the Uncanny in Oxenfree (2016)

63%

Waszkiewicz A.

Homo Ludens

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2019

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issue 1(12)

213-225

EN

The Gothic engages its audiences in the constant play by evoking the same anxieties in its audience and its protagonists. Furthermore, it could be argued that transgressions are its immanent feature. The supernatural elements, with the strong emphasis on the ghosts, often create the feeling of the uncanny, which, defined by the mixing of the familiar with unfamiliar, is not unknown to the video game genre. In the paper I offer a close reading of Oxenfree (2016), demonstrating the Gothic elements featured in the game, concentrating on how the uncanny manifests through the use of the audiovisual glitch.

PL

Gotyk, jako gatunek literacki, wciąga swoich graczy w grę, wywołując w nich ten sam niepokój, który często odczuwają jego bohaterowie. Ponadto nierzadko ważny jego element stanowi transgresywność, przejawiająca się chociażby w elementach nadprzyrodzonych. Na szczególną uwagę zasługują tutaj duchy, wywołujące uczucie niesamowitości spowodowane przez spotkanie znanego z tym, co obce. Na element ten często trafić można w grach wideo. W artykule przyjrzę się grze Oxenfree (2016), wskazując na jej gotyckie elementy oraz ukazując, w jaki sposób niesamowitość przejawia się poprzez audiowizualny glitch.

9

FROM AL-RASHID TO OSAMA BIN LADEN. TRANSFORMATIONS OF THE ARCHETYPES OF EASTERN PEOPLE IN THE IMAGINATION OF THE WEST

63%

Gołuński M.

Studia Humanistyczne AGH

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2019

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vol. 18

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issue 1

53-62

PL

Zachód wytworzył dwa podstawowe, mityczne archetypy muzułmanina. Pierwszy to wschodni mędrzec, bohater Baśni z tysiąca i jednej nocy, którego historyczną realizacją jest Saladyn, drugi zaś to groźny, opisany przez Freuda jako „niesamowity”, Starzec z Gór, za którego współcześnie uznawany jest Osama bin Laden.Przyjmując za punkt wyjścia ataki terrorystyczne z 11 września 2001 r., autor ukazał przesunięcie w imagologicznym odczytywaniu w obrębie zarysowanych archetypów. Oba typy funkcjonują w wyobraźni Zachodu od średniowiecza, wspólnie kreując ambiwalentny obraz Saidowskiego człowieka Wschodu, jednocześnie znanego, w jakimś stopniu oswojonego i groźnego, stanowiącego nie w pełni zrozumiałe zagrożenie. Od czasów kolonialnych Zachód „pozwalał” sobie na widzenie pierwszego, czyniąc Wschód bardziej widzialnym („samowitym”) i bardziej podporządkowanym. Wydarzenia z 11 września wymusiły zmianę tej perspektywy.

EN

The West created two archetypes of Muslim. The fi rst is the East wise man, the hero of ´The Fairy Tales of 1001 nights’ (the historical realization was Saladyn). The second is dangerous, Freudian ‘uncanny’ (the Man of the Mountain or Osama bin Laden now). For me the attack on the World Trade Centre on September 11, 2001 is the point of turn the imagological point of view on that archetypes. Both of types operated from Medieval on imagination of the West. They together created the view of Said’s Eastman. At the same time he is knowing, tamed and dangerous, ‘uncanny’ threat. The long time the West could see more the fi rst and act the East more ‘canny’ and dependent. 11/09 changed this perspective.

10

„Niesamowite” w powieści Joanny Bator Ciemno, prawie noc

63%

Nawarecka L.

Świat i Słowo

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2021

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vol. 37

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issue 2

145-156

EN

Analysing gothic motifs in Joanna Bator's novel, the author finds uncanny objects like a key or a knife. However, the most terrifying motif connected with the "dismemberment" of the body of the Wałbrzych prophet is deprived of the uncanny because of its satirical approach. However, it can be found in motifs related to motherhood.

PL

Autorka analizując w powieści Joanny Bator motywy gotyckie odnajduje niesamowite przedmioty jak klucz czy nóż. Jednak najbardziej przerażający wątek związany z „rozczłonkowaniem” ciała wałbrzyskiego proroka ze względu na ujęcie satyryczne pozbawiony został niesamowitości. Natomiast można się jej doszukać w motywach związanych z macierzyństwem.

11

Abiekt i trauma historyczna w Wichrowych wzgórzach Andrei Arnold

51%

Korczarowska N.

Kwartalnik Filmowy

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2021

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issue 114 Zanieczyszczenie, brud, skaza

6-30

PL

Według Thomasa Elsaessera teoretyczna koncepcja abiektu Julii Kristevej przekroczyła granice psychoanalizy, zyskując krytyczne wsparcie w naukach społecznych i kulturowych jako tryb oporu wykraczający poza problem bycia ofiarą. Aby przetestować aplikowalność koncepcji Kristevej do celów analizy filmu, autorka wybrała adaptację Wichrowych wzgórz (2011) Andrei Arnold. Tekst filmowy autorka pozycjonuje w szerszym kontekście tradycji kina dziedzictwa (dark heritage), w paradygmacie kina abiektalnego Elsaessera (nawiedzenie przez traumatyczną historię) oraz w teorii intertekstualności Kristevej (zakłócenie porządku politycznego/społecznego/kulturowego). Zrealizowana przez Arnold wersja klasycznej powieści gotyckiej akcentuje abiektalny charakter „monstrualnego Innego” za pośrednictwem ciała, rasy i etniczności. Autorka bada, do jakiego stopnia film może skonfrontować nas z trzema zasadniczymi trybami abiekcji: abiektalną przemocą, abiektalnym językiem i abiektalnym ja.

EN

According to Thomas Elsaesser, Julia Kristeva’s theoretical concept of abjection has extended beyond the psychoanalytical realm, receiving critical support in social and cultural studies, as a mode of defiance beyond victimhood. The author of the article chose Andrea Arnold’s adaptation of Wuthering Heights (2011) to probe the applicability of Kristeva’s concept for the purpose of film analysis. The film text is positioned in the wider context of the heritage film tradition (dark heritage), in the paradigm of Elsaesser’s cinema of abjection (haunted by traumatic history) and in Kristeva’s theory of intertextuality (disturbance of the political/social/cultural order). Arnold’s version of the classical Gothic novel accentuates the abjection of the “monstrous Other” through the issues of body, race and ethnicity. The article examines to what extent film can confront us with three fundamental modes of abjection: abject terror, abject language and the abject self.

12

Berzłoj – niesamowici wilkoludzie, czyli czeczeńska likantropia

51%

Filipczyk K.

Zoophilologica. Polish Journal of Animal Studies

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2023

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issue 1 (11)

1-13

RU

Данная статья посвящена топосу волка и трем «мифо-ритуальными сценариями Волка» в чеченской культуре, т. е. происхождению от ликоморфного Предка, актуализации изначального мифологического событья и воинской инициации. Эти сценарии реализуются в песне Аварское село современного чеченского барда Тимура Муцураева, в которой мотив «воинской ликантропии» является реактуализацией чеченского народного мифа о волчице. В ходе анализа особенно важна категория das Unheimliche (жуткое) Зигмунда Фрейда, с помощью которой можно выявить новые значения образа отождествления себя с волками в сознании чеченцев и их борьбы.

EN

The main objective of the paper is to examine the three “mythico-ritual scenarios of the Wolf ” in Chechen culture: the lycomorphic mythical Ancestor, actualization of a primordial event and military initiation. Elements of these scenarios may be observed in the song Аварское село by the contemporary Chechen bard Timur Mutsuraev. The military initiation presented in the song re-actualizes the Chechen myth of the She-Wolf. The phenomenon of the wolfish identity of the Chechens and their struggle are analyzed in the context of Sigmund Freud’s category of das Unheimliche (the uncanny).

PL

Artykuł poświęcony jest toposowi wilka i trzem "mityczno-rytualnym scenariuszom Wilka" w kulturze czeczeńskiej: to pochodzenie od likomorficznego Przodka, aktualizacja mitycznego czynu i inicjacja bojowa. Scenariusze te można zaobserwować w pieśni Аварское село współczesnego czeczeńskiego barda Timura Mucurajewa. Motyw "bitewnej likantropii" stanowi w niej reaktualizację czeczeńskiego mitu o wilku. W utworze tym ważną rolę pełni kategoria niesamowitości (das Unheimlische) Zygmunta Freuda - kontekst ten pozwala odsłonić nowe znaczenia obrazów wilczej tożsamości Czeczenów i ich walki.

Refine search results

Ambiguity and the uncanny in Henry James’s The Turn of the Screw and its Polish translations

The Interplay of the Domestic and the Uncanny in Susanna Clarke’s Jonathan Strange and Mr Norrell

Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

Nadnaturalny horror w Google Street View. Estetyka niepokoju a obrazy ładu w przestrzeni miejskiej

Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’sTetsuo: The Iron Man(1989)

LIENACJA I WYKLUCZENIE W FILMACH DAVIDA LYNCHA

Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

Glitch as the Representation of the Uncanny in Oxenfree (2016)

FROM AL-RASHID TO OSAMA BIN LADEN. TRANSFORMATIONS OF THE ARCHETYPES OF EASTERN PEOPLE IN THE IMAGINATION OF THE WEST

„Niesamowite” w powieści Joanny Bator Ciemno, prawie noc

Abiekt i trauma historyczna w Wichrowych wzgórzach Andrei Arnold

Berzłoj – niesamowici wilkoludzie, czyli czeczeńska likantropia