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Morbus hermeneuticus - wyzwanie współczesnej humanistyki

100%
Budzowska M.
Collectanea Philologica
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2011
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vol. 14
EN
The issue that is taken in the article concerns the problem of the essence of hermeneutics. Taking into consideration the Herbert Schnädelbach’s conception of “morbus hermeneuticus”, the author develops the reflection on the status of hermeneutics in philosophy. In the discussion about ideas of freedom of cognitive process the views of M. Polanyi, O. Marquard, R. Girard, G. Simmel, J. Baudrillard, M. Foucault, J. Derrida are presented. In addition, the author introduces the concepts of chaos theory and theory of contingency. Based on the indicated culture’s texts author tries to find a positive evaluation of hermeneutic method, which should be understood in a more extended sense and thus not seen as a state of disease (morbus hermeneuticus).
2
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Dziecko jako ofiara wojny w tragediach Eurypidesa i Seneki w świetle sceny z Astyanaksem

100%
Budzowska M., Łódzki U.
Collectanea Philologica
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2004
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vol. 08
LA
Dissertatur de aspectu infantis, qui belli victima est, apud Euripidem et Senecam.
3
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Medea w tradycji przedeurypidejskiej

100%
Budzowska M., Łódzki U.
Collectanea Philologica
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2004
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vol. 08
LA
Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.
4
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Multimedialność w inscenizacji dramatu antycznego. "I Ifigenia" Tomasza Bazana

100%
Budzowska M.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2019
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issue 11(2) "Teatr w edukacji, terapii i profilaktyce"
6-19
PL
Artykuł podejmuje zagadnienie zastosowania multimediów w inscenizacji dramatu antycznego, poddając analizie spektakl Tomasza Bazana I Ifigenia z Teatru Nowego im. Kazimierza Dejmka w Łodzi, będący adaptacją tragedii Eurypidesa pt. Ifigenia w Aulidzie. Artykuł proponuje konkluzje dotyczące trzech aspektów istnienia mediów w dziele scenicznym Bazana. Po pierwsze, wskazuje na zastosowanie mediów jako metody poszerzenia problematyki społecznej rozważanej na scenie. Po drugie, omawia maszynerię medialną jako nowe narzędzia medium teatru. I po trzecie, wskazuje i analizuje kategorialne różnice między teatrem ciał a teatrem ciał i elektronicznych obrazów.
EN
The article focuses on the implementation of multimedia in ancient drama. The analysis concerns the performance And Iphigenia by Tomasz Bazan (from the Nowy Theatre in Lodz), which is based on the Euripides’ tragedy Iphigenia in Aulis. The paper contains remarks on three aspects of media existence in stage work by Bazan. Firstly, it indicates the use of media as a method of broadening social issues considered on stage. Secondly, it discusses media machinery as new tools for the medium of theatre. And thirdly, it points out and analyses the categorial differences between a purely corporeal theatre and a theatre of bodies and electronic images.
5
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Existing Within and Beyond Time: «Capri—the Island of Fugitives» by Krystian Lupa

100%
Budzowska M.
Pamiętnik Teatralny
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2021
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vol. 70
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issue 2(278)
11-36
EN
The proposed article ponders upon Krystian Lupa’s Capri—the Island of Fugitives (2019), an original production staged at the Powszechny Theatre in Warsaw that brings together two of Curzio Malaparte’s prose books: Kaputt (1944) and The Skin (1949). By focusing on the parts of the production that adapt Kaputt, the article scrutinizes scenes produced by the live performance and the virtual projections in order to describe and explain how theatrical expression is enriched by such a juxtaposition. This analysis uses the theoretical frameworks of unnatural narratology (Jan Alber et al.), postdramatic durational aesthetics (Hans-Thies Lehmann), and the idea of the virtual double (Matthew Causey). The primary argument relies on the specific temporality emerging from the Lupa’s performance that enables spectators to feel existence within and beyond time. Furthermore, the study investigates the overarching idea of the performance, recognized by the strategy of foregrounding the thematic that oscillates within the problematics of human cruelty.
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