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"Grenadyjskie lustro wody", czyli krajobraz polisensoryczny w eksperymentalnym kinie José Val del Omara
No full textThe article constitutes an examination of the manner in which José Val del Omar, a Spanish film director, cinema theorist, and inventor originating from Granada with a profound connection to the locale, constructs the city’s landscape within his oeuvre. The primary focus lies on his experimental film of the series, Triptico Elemental de España (Elementary Triptych of Spain), titled Water-Mirror of Granada. Omar derives inspiration and fascination from the cultural and natural landscapes of this Andalusian region, situated at the confluence of diverse cultures and religions, characterized by the historical turmoil it endured, strategically positioned along a trade route, and drawing its economic vitality therefrom. Nonetheless, his way of constructing landscape diverges from the conventional predispositions of the cinematic medium he employs. In his film, Granada transcends being a mere visual representation, an object of aesthetic and idealizing scrutiny, to become a landscape comprehended experientially, particularly in a mystical sense. Hence, it is not simply presented for the viewer’s pleasure of distanced watching but showcased in a manner that facilitates polisensory experience. Omar’s portrayal of Granada emerges as a city fundamentally experienced rather than contemplated from a distance.The article constitutes an examination of the manner in which José Val del Omar, a Spanish film director, cinema theorist, and inventor originating from Granada with a profound connection to the locale, constructs the city’s landscape within his oeuvre. The primary focus lies on his experimental film of the series, Triptico Elemental de España (Elementary Triptych of Spain), titled Water-Mirror of Granada. Omar derives inspiration and fascination from the cultural and natural landscapes of this Andalusian region, situated at the confluence of diverse cultures and religions, characterized by the historical turmoil it endured, strategically positioned along a trade route, and drawing its economic vitality therefrom. Nonetheless, his way of constructing landscape diverges from the conventional predispositions of the cinematic medium he employs. In his film, Granada transcends being a mere visual representation, an object of aesthetic and idealizing scrutiny, to become a landscape comprehended experientially, particularly in a mystical sense. Hence, it is not simply presented for the viewer’s pleasure of distanced watching but showcased in a manner that facilitates polisensory experience. Omar’s portrayal of Granada emerges as a city fundamentally experienced rather than contemplated from a distance
On the Femininity of the Swamp. Reading the Monstrous Garden of Fertility, Fermentation, Decay
No full textSwamps are often portrayed as desolate and dangerous places: demonic, inaccessible, marshy, boggy terrains. They have been imagined as an orbis exterior, an untamed space symbolically associated with the boundary between the earthly and otherworldly orders, between life and death: in-between places, not quite land and not quite water. In this article, we explore the swamp from a transdisciplinary and more-than-human perspective. Traversing history, literary studies but also biochemistry and all studies of life, our aim is to practice a holistic approach that does justice to the complexity of swamp, and the many processes (like fertility, fermentation, decay) that give form to its being. Our main finding concerns the femininity ascribed to the swamp and to swamp life (its monstrosities) in the various stories being told. All too often these stories turned around ‘the unaccepted’, and showed how society projects its ideas of ‘unacceptedness’ on swamp life, on right and wrong behavior, and of course on how the female was subjected to patriarchy for so long. It is no coincidence that the unaccepted is time again translated and personified into some form of femininity. Why does the marsh garden so often speak through the body of the woman, her fertility, her sexuality, her feared powers? These gardens, swamps and marshes, were always to be found outside of the city, outside of the civilized land. These analyses show us how geometry is deeply political, sexual and in many ways, enacts and reproduces the ethics of patriarchy.Swamps are often portrayed as desolate and dangerous places: demonic, inaccessible, marshy, boggy terrains. They have been imagined as an orbis exterior, an untamed space symbolically associated with the boundary between the earthly and otherworldly orders, between life and death: in-between places, not quite land and not quite water. In this article, we explore the swamp from a transdisciplinary and more-than-human perspective. Traversing history, literary studies but also biochemistry and all studies of life, our aim is to practice a holistic approach that does justice to the complexity of swamp, and the many processes (like fertility, fermentation, decay) that give form to its being. Our main finding concerns the femininity ascribed to the swamp and to swamp life (its monstrosities) in the various stories being told. All too often these stories turned around ‘the unaccepted’, and showed how society projects its ideas of ‘unacceptedness’ on swamp life, on right and wrong behavior, and of course on how the female was subjected to patriarchy for so long. It is no coincidence that the unaccepted is time again translated and personified into some form of femininity. Why does the marsh garden so often speak through the body of the woman, her fertility, her sexuality, her feared powers? These gardens, swamps and marshes, were always to be found outside of the city, outside of the civilized land. These analyses show us how geometry is deeply political, sexual and in many ways, enacts and reproduces the ethics of patriarchy
Oniryzm jako strategia kreowania przestrzeni niesamowitej w najnowszej polskiej literaturze weird fiction
No full textThe main aim of this article is to describe one of the strategies of creating uncanny space in contemporary Polish weird fiction literature. Initially, the text focuses on general information about oneirismin literature, as well as the combining of the real and supernatural order in the context of Manuel Aguirre’s two-space model, constitutive for space in weird fiction. Subsequently, the concept of oneirismis linked to the Freudian uncanny and the work of Bruno Schulz, which is extremely important for the literature under analysis. The second part of the article is devoted to the analysis of short stories: Horror vacui by Robert Zawadzki, Wezwanie by Wojciech Gunia and Król karaluchów by Ian Giedrojć.The main aim of this article is to describe one of the strategies of creating uncanny space in contemporary Polish weird fiction literature. Initially, the text focuses on general information about oneirismin literature, as well as the combining of the real and supernatural order in the context of Manuel Aguirre’s two-space model, constitutive for space in weird fiction. Subsequently, the concept of oneirismis linked to the Freudian uncanny and the work of Bruno Schulz, which is extremely important for the literature under analysis. The second part of the article is devoted to the analysis of short stories: Horror vacui by Robert Zawadzki, Wezwanie by Wojciech Gunia and Król karaluchów by Ian Giedrojć
Krajobraz (literacki) Szczecina jako źródło tożsamości – geobiograficzna lektura zbioru opowiadań Pewnego razu w Szczecinie
No full textThe author, taking the methodology of geopoetics as her basis, with particular emphasis on the categories of geobiographical experience and geopoetics of reception, analyses how the landscape in the anthology Pewnego razu w Szczecinie is used to construct the identity of the city’s inhabitants.Using selected short stories from the anthology as an example, the article highlights the strategies of creating a bond with the city based on the reader’s geobiographical experience: imitating direct ways of experiencing the city on a fictional level, evoking anthropological places, attempting to establish symbolic centre, and the process of imagining the past in places hollowed out from memory. The article argues that the experience of landscape in the reading of the anthology correlates strongly with the creation and practice of urban identity. The author also notes the connection of identity to the presence of bookshops in the city and to reading in general.The author, taking the methodology of geopoetics as her basis, with particular emphasis on the categories of geobiographical experience and geopoetics of reception, analyses how the landscape in the anthology Pewnego razu w Szczecinie is used to construct the identity of the city’s inhabitants.Using selected short stories from the anthology as an example, the article highlights the strategies of creating a bond with the city based on the reader’s geobiographical experience: imitating direct ways of experiencing the city on a fictional level, evoking anthropological places, attempting to establish symbolic centre, and the process of imagining the past in places hollowed out from memory. The article argues that the experience of landscape in the reading of the anthology correlates strongly with the creation and practice of urban identity. The author also notes the connection of identity to the presence of bookshops in the city and to reading in general
Wehikuł czasu jako rekwizyt – maszyna ucieczki poza świat człowieka
No full textThe article draws attention to the significant influence of the time machine, as a prop, on plot structure and narration, as well as its specific ontological status. The examples used are H.G. Wells’s novel The Time Machine (1895), and the British tv series Doctor Who (1963–1989; 2005–). The article outlines the liminal character of the vehicle as a prop. It also proposes the interpretation of this prop in the spirit of Object-Oriented Ontology, which, according to the author, reveals the potential of the time machine in transcending the anthropocentric perspective.The article draws attention to the significant influence of the time machine, as a prop, on plot structure and narration, as well as its specific ontological status. The examples used are H.G. Wells’s novel The Time Machine (1895), and the British tv series Doctor Who (1963–1989; 2005–). The article outlines the liminal character of the vehicle as a prop. It also proposes the interpretation of this prop in the spirit of Object-Oriented Ontology, which, according to the author, reveals the potential of the time machine in transcending the anthropocentric perspective
Sycylijski krajobraz pamięci w filmie Salvatore Giuliano (1961, reż. Francesco Rosi)
No full textSalvatore Giuliano (dir. Francesco Rosi, 1962) tells the story of symbolic locations for the Sicilians – the Portella della Ginestra pass and the surrounding area of Montelepre in the Palermo province. These areas were the scene of conflicts between the state and the mafia, and between the peasants and the authorities. On 1st May 1947, several thousand peasants and workers gathered there during a rally organised by left-wing political parties to celebrate an electoral success and continue the campaign for agrarian reforms. The gathering was shot at by a group of armed assailants. Sicilians blame the mafia and landowners for this event. The director uses authentic landscapes of Sicily, emphasising the documentary style of the film. The landscape of Sicily in the film is also a symbol of isolation – both geographical and political. Separated from the rest of Italy, Sicily in the film appears to be a place where state law has no full power, and local conflicts unfold against the backdrop of mountainous wastelands. The article analyses the sites of memory, drawing on Pierre Nora’s theory, that make up the filmic landscape, highlighting the real issues of 1940s Sicily. The scenes shot in the mountainous regions and the Sicilian town of Montelepre evoke a sense of reportage, enhancing the credibility of the narrative and bringing the viewer closer to these historically significant events for the Sicilians
Japońska teoria krajobrazu (fūkeiron) jako źródło inspiracji
No full textStarting from the theoretical concept of Masao Matsuda, who wrote about the landscape in the context of political power to draw attention to the homogenization of space and the violence of state apparatuses, I intend to consider the influence that the Japanese theory (fūkeiron) had on contemporary visual art. The point of reference is the work of Éric Baudelaire, French American director and multimedia artist who developed the approach proposed by Masao Matsuda and Masao Adachi. In his films and installations, he showed how the transformation of space relates to the oppressive system of power. The subject of the analysis are two documentaries: The Anabasis of May and Fusako Shigenobu, Masao Adachi & 27 Years without Images (2011) and Also Known as Jihadi (2017)
„Pejzaże pamięci” jako dialog Agaty Tuszyńskiej i Isaaca Bashevisa Singera
No full textThe article analyzes Agata Tuszyńska’s Lost Landscapes: In Search of Isaac Bashevis Singer and the Jews of Poland (Singer. Pejzaże pamięci) and Familial History of Fear (Rodzinna historia lęku), in which landscape becomes a space of dialogue with the work of Isaac Bashevis Singer and a literary attempt to inscribe a private history. Intertextual references to Singer’s works serve not merely a stylistic function, but become a tool of affective participation in memory and shared Jewish identity. This dialogue takes on a spatial dimension in a dual sense: the landscape brings together a vision of pre-war, lost Poland with the real, post-war terrain marked by absence (R. Sendyka) and affect (H.U. Gumbrecht). In the spirit of Stanisław Balbus’s “reminiscence”, Tuszyńska does not compete with Singer but co-creates the narrative, complementing the modernist portrait. The landscape thus becomes not only an (auto)biographical gesture, but also a literary map of reclaiming voice and place within a community of memory
Upamiętnienie i odnowa – graffiti Banksy’ego na tle ruin
No full textThe text presents an analysis of the works of one of the most famous street art artists, Banksy, left in a landscape consisting of ruins (in the literal sense or referring to a place where there were ruins in the past). I first interpret the graffiti from New York and Paris, which are tributes in memory of the victims of the attack on the World Trade Center and the attack on concert attendees at the Bataclan club. These images – already created in a ‘renewed’ landscape – take on the function of ephemeral memorials. I then analyse graffiti from the embattled areas of the Gaza Strip and Ukraine. There, amidst the rubble and ruins, Banksy leaves images on the remains of buildings, blending almost organically into this altered landscape. These paintings, ludic in their form and message, are a call for renewal – both physically and spiritually – while their commemorative function remains in the background. What the graffiti from the ‘renewed’ landscape and that consisting of ruins have in common is their functioning, which can be seen in Gadamerian terms of play, symbol and festival