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Śniegi Północy i Słońce Wschodu. Rola przestrzeni naturalnej w procesie kształtowania fikcyjnego świata w literaturze fantasy
No full textThe article is dedicated to the issue of space and nature in the context of worldbuilding theory and its impact on narrative structures in literature. The analysis focuses on the ways literary worlds are constructed and the role that space and nature play within them. The study is based on Mark J.P. Wolf’s concept, which distinguishes four spheres of fictional reality construction (nominal, cultural, natural, and ontological). Particular attention is given to the topographical turn and geopoetics, which emphasize the significance of place and landscape in narration. The case study examines A Game of Thrones and A Clash of Kings by George R.R. Martin, where geographical space determines the culture and beliefs of fictional societies. Two contrasting areas of the fictional world are discussed – the harsh, snowy, and forested North of Westeros and the hot, steppe and desert-like lands of Essos. The paper also highlights how space and nature contribute to creating the novel’s distinctive atmosphere and their impact on the text’s appeal to readers.The article is dedicated to the issue of space and nature in the context of worldbuilding theory and its impact on narrative structures in literature. The analysis focuses on the ways literary worlds are constructed and the role that space and nature play within them. The study is based on Mark J.P. Wolf’s concept, which distinguishes four spheres of fictional reality construction (nominal, cultural, natural, and ontological). Particular attention is given to the topographical turn and geopoetics, which emphasize the significance of place and landscape in narration. The case study examines A Game of Thrones and A Clash of Kings by George R.R. Martin, where geographical space determines the culture and beliefs of fictional societies. Two contrasting areas of the fictional world are discussed – the harsh, snowy, and forested North of Westeros and the hot, steppe and desert-like lands of Essos. The paper also highlights how space and nature contribute to creating the novel’s distinctive atmosphere and their impact on the text’s appeal to readers
The Role of Objects and Artifacts in Crafting the OnScreen Images of Mythological Medusa
No full textMedusa, the Gorgon known for her monstrous appearance and petrifying gaze, is one of the most iconic figures in Greco-Roman mythology. Unlike many other mythological characters, Medusa can be identified solely by her distinctive physiognomy, without the need for symbolic attributes, as is often the case with depictions of deities. However, in the myth of Perseus, where Medusa is the main antagonist, various props play a crucial role in defining her character. This article explores the role of three key categories of these objects–those used against Medusa, those created by her gaze, andthose formed from her dead corpse–in shaping her image in film pop culture. Through an analysis of films such as Clash of the Titans (2010) and Percy Jackson & the Olympians: The Lightning Thief (2010), as well as their originals or remakes, the study demonstrates how these objects not only construct Medusa’s portrayal but also engage with themes of objectification and dehumanization.Medusa, the Gorgon known for her monstrous appearance and petrifying gaze, is one of the most iconic figures in Greco-Roman mythology. Unlike many other mythological characters, Medusa can be identified solely by her distinctive physiognomy, without the need for symbolic attributes, as is often the case with depictions of deities. However, in the myth of Perseus, where Medusa is the main antagonist, various props play a crucial role in defining her character. This article explores the role of three key categories of these objects–those used against Medusa, those created by her gaze, andthose formed from her dead corpse–in shaping her image in film pop culture. Through an analysis of films such as Clash of the Titans (2010) and Percy Jackson & the Olympians: The Lightning Thief (2010), as well as their originals or remakes, the study demonstrates how these objects not only construct Medusa’s portrayal but also engage with themes of objectification and dehumanization
Małomiasteczkowe pejzaże w kinie polskim lat 50.
No full textThe heroine of The Bus Leaves at 6:20 (1954) by Jan Rybkowski leaves behind the stuffy space of a small town: small houses, courtyards, cobbled streets and a small market square where a carousel has just set up. The beginning of Rybkowski’s film brings one of the first neorealist images of every day life, which, however, has to give way to socialist realist landscapes: the smoking chimneys of factories and steelworks in Silesia will provide the heroine with dignity and freedom. Small towns were included in this and similar dichotomies: freedom – enslavement, persistence – change, and even political – private, also in subsequent films of this decade, although these categories, depending on the author’s strategy or the dominant social mood, were assigned different values and given different meanings. In Winter Twilight by Stanisław Lenartowicz, The Small Town (both 1956) by Jerzy Ziarnik, The Small Town (1958/1960) by Romuald Drobaczyński, Julian Dziedzina and Janusz Łęski, the third novella of Cross of Valour (1958) and Nobody’s Calling (1960) by Kazimierz Kutz, the space of the town and its material reality influenced the way of life of the protagonists, became evidence of the fall, a closed circle from which one cannot escape, but also contributed to the in validation of the political perspective and allowed for a different passage of time and way of life
Pejzaże kontemplacji: na pograniczu kina i fotografii. Przypadek Raymonda Depardona
No full textThe purpose of the article is to present the concept of the landscape of contemplation in relation to the reflections undertaken from Walter Benjamin and his concept of contemplative reception to the considerations by Thomas Elsaesser, who writes about the momentary suspension of attention in a state of distraction. The text is intended to point out the features and conditions that should be met in order to speak of a landscape of contemplation. Both technical issues (such as the use of appropriate cinematic means) and thematic representation are important. The author sees the potential in composing landscapes of contemplation arising from balancing on the border between film and photography, which, as it were, forces the viewer’s attention and stops the film shots for a longer period of time. Raymond Depardon’s film La vie moderne (2008) was used as an example of this, in which the director very aptly constructs (country) images of the province, using practices familiar to him from his work as a photojournalist. This results in the realization of a unique documentary film, expressing the ephemeral landscape of characters whose lives have been shaped by the surrounding nature
Manipulacje przestrzenią świata przedstawionego jako instrumentarium poetyki grozy w ilustrowanej literaturze dla dzieci (przypadki Tam, gdzie żyją dzikie stwory Maurice’a Sendaka i Czarnej książki Rity Kaczmarskiej)
No full textThe article discusses two cases of using the technique of expanding or shrinking the narrative settingof a literary work in order to intensify reader’s emotions of unease and uncertainty through referencesto agoraphobic or claustrophobic fears. The analysis of selected themes from works dedicated toyoung readers – Where the Wild Things Are by Maurice Sendak and The Black Book by Rita Kaczmarska – shows how the language text and illustrations co-create stories for children that draw from horror motifs. The authors, seemingly frightening the readers with monsters or darkness, actuallyevoke additional fears related to space, thus making transformations of the landscape backgroundof both plots an essential tool of the poetics of horror.The article discusses two cases of using the technique of expanding or shrinking the narrative settingof a literary work in order to intensify reader’s emotions of unease and uncertainty through referencesto agoraphobic or claustrophobic fears. The analysis of selected themes from works dedicated toyoung readers – Where the Wild Things Are by Maurice Sendak and The Black Book by Rita Kaczmarska – shows how the language text and illustrations co-create stories for children that draw from horror motifs. The authors, seemingly frightening the readers with monsters or darkness, actuallyevoke additional fears related to space, thus making transformations of the landscape backgroundof both plots an essential tool of the poetics of horror
Nieunikniona przełomowość wędrowania. Stawanie się przybyszem według Hermanna Hessego
No full textThe article is dedicated the work of Hermann Hesse, with a particular focus on the representations of the newcomer figure within them. By analyzing two of his novels – Peter Camenzind (1904) and Siddhartha (1922) – the author seeks to define the specificity of this figure and the narrative-philosophical similarities between the two works. A particularly important issue is the broadly understood problem of wandering and how it is implemented by individual characters in the novel. The author also juxtaposes the German prose writer’s viewpoint with the thought of European philosophers, such as Emmanuel Lévinas or Bernhard Waldenfels, as their inquiries also focus on the problem of meeting the other and the possible interactions that an individual can adopt to make the titular stranger part of a given community without giving up their own identity.The article is dedicated the work of Hermann Hesse, with a particular focus on the representations of the newcomer figure within them. By analyzing two of his novels – Peter Camenzind (1904) and Siddhartha (1922) – the author seeks to define the specificity of this figure and the narrative-philosophical similarities between the two works. A particularly important issue is the broadly understood problem of wandering and how it is implemented by individual characters in the novel. The author also juxtaposes the German prose writer’s viewpoint with the thought of European philosophers, such as Emmanuel Lévinas or Bernhard Waldenfels, as their inquiries also focus on the problem of meeting the other and the possible interactions that an individual can adopt to make the titular stranger part of a given community without giving up their own identity
Set-jetting jako przykład praktykowania krajobrazu filmowego
No full textThe assumption adopted in the article is the ambiguous status of the film landscape and its borderline identity, which results from its location ‘between’ the screen (the image) and the film set (the real place/environment). This understanding of the landscape confirms and at the same time reinforces the contemporary phenomenon of set-jetting, a phenomenon defined as the tendency to visit locations known from different films and series. This study seeks to answer the questions: What is set-jetting as a cultural practice? In what sense is it a new version of well-known cultural tourism, and in what sense is it a typical product of consumer culture, part of a networked circulation of images? How does set-jetting affect real places and local communities? What are contemporary tourist sites, how much fiction and how much reality are in them, to what extent do they contain an authentic story about a place, and to what extent secondary, individualised fabulations. The final aim of the discussion is an attempt to identify the types of landscape practice by contemporary viewers/tourists
Trzęsienie ziemi jako źródło polisensorycznego odbioru krajobrazu w "Rombo" Esther Kinsky
No full textThe article presents an analysis of Esther Kinsky’s novel Rombo in terms of sensory geography and research on the relationship between the sense of hearing and the landscape. The aim was to show that the earthquake enabled a consciously polysensory experience of the landscape of the valley below Monte Canin, and therefore its perception both before and after the 1976 events in the province of Udine in northern Italy was taken into account. Given the nature of the event and its aftermath, it was also important to look at the haptics present in the literary characters’ relationship to the landscape. The analysis underscores the inextricable link between the various senses (primarily hearing, touch and sight) and the experience of the landscape
Magiczne właściwości Schwärmerei. O roli nalewki w Empuzjonie Olgi Tokarczuk
No full textThe article analyzes Olga Tokarczuk’s novel The Empusium (Empuzjon), applying actionnetwork theory (Bruno Latour) or object-oriented ontology (Graham Harman). The focus is on the Schwärmerei tincture; on the one hand, this appears as an objectprop aiding in the treatment of tuberculosis; on the other, it possesses its own agency. The author examines the reciprocal relationships between this object and its environment, particularly its connections with the different characters. Viewed in the light of the anthropology of religion, the magical and narcotic properties of the tincture serve as an example of experiencing altered states of consciousness. The change in the perception of reality allows for the blurring of boundaries between binary oppositions: transcendent–material, culture-nature, living–dead, human–non-human, which are at the core of anthropocentrism.The article analyzes Olga Tokarczuk’s novel The Empusium (Empuzjon), applying actionnetwork theory (Bruno Latour) or object-oriented ontology (Graham Harman). The focus is on the Schwärmerei tincture; on the one hand, this appears as an objectprop aiding in the treatment of tuberculosis; on the other, it possesses its own agency. The author examines the reciprocal relationships between this object and its environment, particularly its connections with the different characters. Viewed in the light of the anthropology of religion, the magical and narcotic properties of the tincture serve as an example of experiencing altered states of consciousness. The change in the perception of reality allows for the blurring of boundaries between binary oppositions: transcendent–material, culture-nature, living–dead, human–non-human, which are at the core of anthropocentrism