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Antroposceniczność. Krajobraz jako nowa opowieść klimatyczna
No full textThe article Anthroposcenicity. Landscape as a New Climate Narrative examines the challenges of representing climate disasters and the Anthropocene in visual culture. Using the case of the 2024 floods in Poland as a starting point, it highlights the limitations of traditional media in capturing the scale and processual nature of environmental crises. The author explores how cinema moves away from the narratives of Hollywood disaster films – which often reinforce anthropocentric perspectives – and presents alternative approaches that allow for the dehierarchization of the human viewpoint. Drawing on the concepts of Andrzej Marzec, Timothy Morton, and David Matless, the article introduces the term anthroposcenicity as a framework for rethinking film aesthetics in the Anthropocene. By analyzing films that expand spatial and temporal scales, the text emphasizes the potential of cinema to shift narratives from an anthropocentric perspective to ecological and posthumanist storytelling
Krajobrazy przyziemne i usłyszane. Wokół twórczości Forresta Gandera
No full textThe article explores the relationship between poetry and landscape in the works of Forrest Gander, focusing on his approach to ecopoetics and transdisciplinarity. The author examines how landscape in Gander’s poetry functions as a dynamic, multilayered relational space that incorporates the natural, cultural and historical dimensions of perception. The concept of the “listenedto landscape” is highlighted as an object of ethical attention and cognitive practice. The analysis also considers the influence of Martin Heidegger and Maurice Merleau-Ponty on Gander’s way of experiencing and representing landscape in his poetry. The text emphasizes the palimpsestic and polyphonic nature of his works, situating them within contemporary reflections on the ecological crisis and new epis temological strategies in literature.The article explores the relationship between poetry and landscape in the works of Forrest Gander, focusing on his approach to ecopoetics and transdisciplinarity. The author examines how landscape in Gander’s poetry functions as a dynamic, multilayered relational space that incorporates the nat ural, cultural and historical dimensions of perception. The concept of the “listenedto landscape” is highlighted as an object of ethical attention and cognitive practice. The analysis also considers the influence of Martin Heidegger and Maurice Merleau-Ponty on Gander’s way of experiencing and representing landscape in his poetry. The text emphasizes the palimpsestic and polyphonic nature of his works, situating them within contemporary reflections on the ecological crisis and new epis temological strategies in literature
Intermedialność adaptacji, adaptacja intermedialności. Gry z dyskursem hiphopowym w Innych ludziach (Doroty Masłowskiej i Aleksandry Terpińskiej)
No full textThis article explores the concept of intermediality in the context of contemporary film adaptations. As the author argues, this category not only highlights the necessity of considering multiple media in the analysis of adaptation processes, but also serves as an effective tool for describing specific contemporary narrative strategies. The study focuses on Dorota Masłowska’s novel Other People (Inni ludzie), and its adaptation by Aleksandra Terpińska. The author examines how Masłowska and Terpińska employ literary and cinematic means of expression to create intermedial references to the discourse of hiphop. The analysis aims not only to demonstrate the dynamic interaction between different media forms, but also to show the potential of intermedial references as a tool for social critique. According to the author, Other People is not an example of remediation in the strict sense, but rather of reflective intermediality, which encourages to examine the referenced discourse from a critical distance.This article explores the concept of intermediality in the context of contemporary film adaptations. As the author argues, this category not only highlights the necessity of considering multiple media in the analysis of adaptation processes, but also serves as an effective tool for describing specific contemporary narrative strategies. The study focuses on Dorota Masłowska’s novel Other People (Inni ludzie), and its adaptation by Aleksandra Terpińska. The author examines how Masłowska and Terpińska employ literary and cinematic means of expression to create intermedial references to the discourse of hiphop. The analysis aims not only to demonstrate the dynamic interaction between different media forms, but also to show the potential of intermedial references as a tool for social critique. According to the author, Other People is not an example of remediation in the strict sense, but rather of reflective intermediality, which encourages to examine the referenced discourse from a critical distance
Tomasza Różyckiego krajobrazy z odzysku
No full textIn this article I analyze the motif of landscape in the poetry of Tomasz Różycki in the context of post-memory and geopoetics referring to the history of Eastern Europe. I am interested in the category of the poet undertaken by Różycki – the heir of the lost landscapes of his grandparents, marked by emptiness, the tension between the past and the present, between the known and the lost. I am particularly interested here in the poem Spalone mapy as a record of the affective experience of the landscape, which is an attempt to regain ties with a lost place and history of one’s ancestors
Krajobraz bezmiejscowości: radziecka propaganda i przestrzeń w amerykańskich relacjach z podróży z lat 30. XX wieku
No full textThis article examines the influence of propaganda on the construction of space in the travelogues of Will Rogers and Jay Norwood Darling, two American travelers to the USSR. Their works, “There’s not a Bathing Suit in Russia and Other Bare Facts” (1927) and “Ding Goes to Russia” (1932), have received limited scholarly attention and have not been previously analyzed within this critical frame work. The paper aims to conduct a geocritical interpretation of the Soviet socio-political landscape as represented in the travelogues of Will Rogers and Jay Norwood Darling. A key objective of this study is to define the core approaches to the concept of “propaganda space” based on the spatial and place-based theories of T. Cresswell, M. Auger, and E. Relph. Given the specificity of the studied material, this research employed a combined approach to geocritical analysis, incorporating both geocentered (B. Westphal) and egocentric (R. Tally) perspectives. By focusing on how propaganda’s influence in displacing the anthropological place and replacing it with a “place-doxa” (industrial projects, proletarian streets, museums), the narrators conceptualize the Soviet landscape as a realm of placelessness, highlighting its functions of manipulation, coercion, othering, constraint, and the erosion of individual space.This article examines the influence of propaganda on the construction of space in the travelogues of Will Rogers and Jay Norwood Darling, two American travelers to the USSR. Their works, “There’s not a Bathing Suit in Russia and Other Bare Facts” (1927) and “Ding Goes to Russia” (1932), have received limited scholarly attention and have not been previously analyzed within this critical frame work. The paper aims to conduct a geocritical interpretation of the Soviet socio-political landscape as represented in the travelogues of Will Rogers and Jay Norwood Darling. A key objective of this study is to define the core approaches to the concept of “propaganda space” based on the spatial and place-based theories of T. Cresswell, M. Auger, and E. Relph. Given the specificity of the studied material, this research employed a combined approach to geocritical analysis, incorporating both geocentered (B. Westphal) and egocentric (R. Tally) perspectives. By focusing on how propaganda’s influence in displacing the anthropological place and replacing it with a “place-doxa” (industrial projects, proletarian streets, museums), the narrators conceptualize the Soviet landscape as a realm of placelessness, highlighting its functions of manipulation, coercion, othering, constraint, and the erosion of individual space
Mikrologia codzienności. Rekwizyty w tomie Drobiazgi Marty Reszczyńskiej-Stypińskiej
No full textThis article aims to explore the role of props in Marta Reszczyńska-Stypińska’s poetic volume entitled Trinkets in a literary, cultural and philosophical context, using the concepts of micrology and materiality. Looking at these inconspicuous objects can contribute to the creation of new and often non-obvious poetic interpretations. Reszczynska’s work opens up new avenues in the study of the everyday, suggesting that objects can create complex meanings that are often overlooked in conventional sociological and cultural studies. The analysis in this volume fits into the broader context of research on the materiality of culture, with an emphasis on the material turn and micrology, which, as Arjun Appadurai has pointed out, considers objects as active participants in the creation of values and social relations. Future research could focus on comparative analyses with other micrological authors and further explore the influence of materiality on the interpretation of literary narratives.This article aims to explore the role of props in Marta Reszczyńska-Stypińska’s poetic volume entitled Trinkets in a literary, cultural and philosophical context, using the concepts of micrology and materiality. Looking at these inconspicuous objects can contribute to the creation of new and often non-obvious poetic interpretations. Reszczynska’s work opens up new avenues in the study of the everyday, suggesting that objects can create complex meanings that are often overlooked in conventional sociological and cultural studies. The analysis in this volume fits into the broader context of research on the materiality of culture, with an emphasis on the material turn and micrology, which, as Arjun Appadurai has pointed out, considers objects as active participants in the creation of values and social relations. Future research could focus on comparative analyses with other micrological authors and further explore the influence of materiality on the interpretation of literary narratives
O potrzebie czytania niemieckich filozofów. Witkacy o Boyu Witkacy on Boy
No full textThe article discusses Witkacy’s attitude towards the amicable reviewer of his plays–Tadeusz Boy Żeleński. Witkacy’s criticism of Boy, the esteemed author of Flirt z Melpomeną (Flirt with Melpomene), is primarily based on his literary credo. Witkacy demanded that when evaluating art, a strictly aesthetic perspective should be adopted, thereby not accepting Boy-Żeleński’s conviction that social passions should dominate in thinking about literature. Moreover, Witkacy did not recognise the former’s acceptance that the critic be a moderator of social life. His attack on Boy-Żeleński resulted from the belief that the shortcoming of the reviewer’s attitude was his resignation from embedding reflections on literature and theatre in metaphysics and the aesthetic concept rooted therein.The article discusses Witkacy’s attitude towards the amicable reviewer of his plays–Tadeusz Boy Żeleński. Witkacy’s criticism of Boy, the esteemed author of Flirt z Melpomeną (Flirt with Melpomene), is primarily based on his literary credo. Witkacy demanded that when evaluating art, a strictly aesthetic perspective should be adopted, thereby not accepting Boy Żeleński’s conviction that social passions should dominate in thinking about literature. Moreover, Witkacy did not recognise the former’s acceptance that the critic be a moderator of social life. His attack on Boy-Żeleński resulted from the belief that the shortcoming of the reviewer’s attitude was his resignation from embedding reflections on literature and theatre in metaphysics and the aesthetic concept rooted therein
Algorytm jako tworzywo artystyczne. O poszukiwaniu nowych strategii komunikacyjnych w sztukach wizualnych i performatywnych
No full textThis article presents artistic practices that utilize algorithmic techniques, emerging at the intersection of art, science, and technology. It seems that artists employ algorithms: 1) to create graphic formats (both static and dynamic); 2) to perform supervisory functions related to controlling devices and objects, as well as controlling their scope of operation; and 3) to design communication patterns (between machines and between machines and humans). In addition to expanding the scope of experimentation, algorithms implemented in artistic practices also prompt a reassessment of fundamental aesthetic concepts. They pose questions from the cognitive universe that interest representatives of numerous disciplines (humanities, philosophy, computer science, and technical sciences). Their goal is not only to attempt to domesticate exotic practices but also to reflect on ways of thinking about them and methods of researching them.This article presents artistic practices that utilize algorithmic techniques, emerging at the intersection of art, science, and technology. It seems that artists employ algorithms: 1) to create graphic formats (both static and dynamic); 2) to perform supervisory functions related to controlling devices and objects, as well as controlling their scope of operation; and 3) to design communication patterns (between machines and between machines and humans). In addition to expanding the scope of experimentation, algorithms implemented in artistic practices also prompt a reassessment of fundamental aesthetic concepts. They pose questions from the cognitive universe that interest representatives of numerous disciplines (humanities, philosophy, computer science, and technical sciences). Their goal is not only to attempt to domesticate exotic practices but also to reflect on ways of thinking about them and methods of researching them
To prawdziwa tragedia. Modele mitu tragicznego we współczesnej kulturze popularnej
No full textWhat is the significance of the tragic myth in our contemporary times? What role can tragedy still play as a narrative element today? This article considers the presence and significance of the tragic myth in the heroic franchises of today’s cultural industryWhat is the significance of the tragic myth in our contemporary times? What role can tragedy still play as a narrative element today? This article considers the presence and significance of the tragic myth in the heroic franchises of today’s cultural industr
Krajobraz stepu w filmowej adaptacji Wszystko, co najważniejsze… a posttraumatyczna narracja zesłańcza
No full textThe article is an attempt to analyze the strategy used in Robert Gliński’s film All That Really Matters… that consists of depicting the steppe landscape in close connection with the post-traumatic narrative. The steppe landscape is presented as a topographic space of exile, and at the same time, due to the photogénie factor, it constitutes an element that aesthetically softens the impact of this film on the viewer as an example of a post-traumatic work. Using the landscape as part of the observation al-participatory tactics, the director also tried to highlight the meanings given to the depiction of the vast spaces of the steppe, which are justified by the original memories of the main character – Ola Watowa, as referring to transcendent meanings. An important aspect of the aforementioned strategy of depicting the landscape was also treating it as a “medium” of the Kazakh culture, which allowed for emphasizing the common experience of historical trauma both among them and the exiles