“When this you see, remember me”. War cemeteries of Western Galicia in light of new research problems and perspectiveThe article is a first scholarly attempt to identify and consider new perspectives and research problems related to the Great War cemeteries located in Western Galicia. Research on the cemeteries’ forms, origins and ideological expression that has been conducted so far in the field of art history becomes only a prelude for further interdisciplinary deliberations which remain heavily indebted to visual studies, semiotics, performance studies and memory studies. Consequently, Galician cemeteries are seen as (1) codified texts of culture and potential places of memory, (2) texts of culture that bear generic traces of tragedy as well as (3) performative texts of culture. As a result, new hypotheses and research postulates are laid out.
STRANGE IMAGES The text presents a double interpretation (homoerotic and homophobic) of a commercial image of the “renaissance youth” set in the context of the 1980s and the twilight of Communist Poland. The subversive potential of homoerotic reading of the image, on which somewhere in the late 1980s someone wrote AIDS, is presented against the background of its history. The hand-made inscription is here interpreted not only as a homophobic act but first and foremost as an operation aiming at establishing the sense of the image in such a way so that the subversion founded on homoerotic reading is cancelled and the “renaissance youth” becomes a “sick faggot.” As a result of this operation, the image starts to create the only legitimate view of homosexuality, with connotations of sickness, very similar to images of AIDS that appeared in the homophobic public discourse of the Reagan era in the USA.
Recenzja:Anna Branach-Kallas, Uraz przetrwania. Trauma i polemika z mitem pierwszej wojny światowej w powieści kanadyjskiej, Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika w Toruniu, Toruń 2014, ss. 268
W setną rocznicę wybuchu Wielkiej Wojny (1914–1918) w światowej humanistyce coraz bardziej zauważalne stają się próby przewartościowania wiedzy o tym wydarzeniu historycznym oraz modeli jego rozumienia. Nowe i interdyscyplinarne ujęcia tematu Wielkiej Wojny, wykorzystujące perspektywy wywodzące się z takich dziedzin, jak kulturoznawstwo, studia nad wizualnością (visual studies), literaturoznawstwo, muzeologia czy teatrologia, pojawiają się zwłaszcza w kręgu anglo-, francusko- i niemieckojęzycznym. Łączące ref eksję nad obrazami i tekstem badania nad pamięcią i postpamięcią Wielkiej Wojny (jako tekstem kultury) zajmują w nich miejsce kluczowe.
Despite J.M. Coetzee’s ostensible interest in the issues of - largely speaking - visuality, the links between Coetzee’s oeuvre and ‘images’ have not been sufficiently explored either by art or literary critics. The paper offers a detailed discussion of the cooperation between Coetzee and the Belgian artist Berlinde De Bruyckere which has so far resulted in one installation and two art books co-authored by Coetzee and De Bruyckere. Special attention will be paid to the piece “Cripplewood/Kreupelhout” shown in the Belgian Pavilion of the 2013 Venice Biennial and the catalogue published in its wake. Also, a number of questions related to the nature of Coetzee’s contribution to both projects, the role of a curator and his relationship with the artist, as well as the catalogue’s generic affiliation and its position in Coetzee’s body of works are thoroughly addressed.
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