Przestrzenie Teorii
Not a member yet
911 research outputs found
Sort by
Zrozumieć miasto. Hermeneutyka jako metoda badania fenomenu współczesnego miasta
Get PDFIn this article, the author presents the hermeneutic perspective of research in urban studies (‘hermeneutics of the city’) carried out within the field of cultural urban studies. ‘Hermeneutics of the city’ is still an unrealized project within the spatial turn in cultural studies. It is necessary to review and systematize the existing positions that make up the ‘hermeneutics of the city’ and outline its frameworks as theory.In this article, the author presents the hermeneutic perspective of research in urban studies (‘hermeneutics of the city’) carried out within the field of cultural urban studies. ‘Hermeneutics of the city’ is still an unrealized project within the spatial turn in cultural studies. It is necessary to review and systematize the existing positions that make up the ‘hermeneutics of the city’ and outline its frameworks as theory
Scalanie i percepcja wizualna. Kognitywne warunki odbioru dzieł sztuki (malarstwo, rzeźba, literatura)
Get PDFThis article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study
Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów
Get PDFThe article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse
Obraz przestrzeni dowolnej według Gilles’a Deleuze’a
Get PDFThe subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words.The subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words
Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy Luchina Viscontiego
Get PDFIgielska Anna, Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy LuchinaViscontiego [The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 45–75. ISSN 1644-6763. DOI 10.14746/pt.2019.32.2.
The article (of an analytical and interpretative nature) is devoted to the literary background of Luchino Visconti’s Vaghe stelle dell’Orsa (1965). The author studies in detail the links to three works, which form, as she claims, the primary points of literary references. What the article discusses, apart from the myth of Electra and Gabriele D’Annunzio’s novel Forse che si, forse che no (1910), are Richard Wagner’s music drama Die Walküre (1870) – absent so far in the Viscontian literature concerning the said movie – and Thomas Mann’s novella Wälsungenblut (1905/1958), which argues with Wagner’s work in a parodistic manner. By demonstrating how Visconti (1) transposes the literary allusions, (2) combines them into an overall structure, and (3) uses them on the plot level to encode the topic of brother- sister incest, the author comes to the conclusion that what we have here is a story in the form of a riddle, which Visconti dubbed for his own use a “crime movie unlike any other”. That riddle appears as a settlement with a romantic myth of love and carries on the poetics of philosophical ambivalence, so proper to Visconti.Igielska Anna, Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy LuchinaViscontiego [The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 45–75. ISSN 1644-6763. DOI 10.14746/pt.2019.32.2.
The article (of an analytical and interpretative nature) is devoted to the literary background of Luchino Visconti’s Vaghe stelle dell’Orsa (1965). The author studies in detail the links to three works, which form, as she claims, the primary points of literary references. What the article discusses, apart from the myth of Electra and Gabriele D’Annunzio’s novel Forse che si, forse che no (1910), are Richard Wagner’s music drama Die Walküre (1870) – absent so far in the Viscontian literature concerning the said movie – and Thomas Mann’s novella Wälsungenblut (1905/1958), which argues with Wagner’s work in a parodistic manner. By demonstrating how Visconti (1) transposes the literary allusions, (2) combines them into an overall structure, and (3) uses them on the plot level to encode the topic of brother- sister incest, the author comes to the conclusion that what we have here is a story in the form of a riddle, which Visconti dubbed for his own use a “crime movie unlike any other”. That riddle appears as a settlement with a romantic myth of love and carries on the poetics of philosophical ambivalence, so proper to Visconti
Niechciana obecność autora – filmowy przypadek Václava Havla
Get PDFGuzek Mariusz, Niechciana obecność autora – filmowy przypadek Václava Havla [The Unwanted Presence of the Author – Václav Havel in Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 115–128. ISSN 1644-6763. DOI 10.14746/pt.2019.32.5.
Václav Havel had his views on film, participated in the life of the new wave artist community, had walk-on parts, wrote screenplays, and at the end of his life, made one picture based on his own stage drama Leaving. For Havel, film was a part of a larger cultural challenge, appointed by the Central European character of the second half of the 20th century. In his plays and essays, he discussed the topics of enslavement, lies and resistance to these, constructing a kind of antinomical model of self-power. Repeatedly, the starting point of his work was the Czech reflections included in the theoretical texts of Jan Ivo Osolsobě or the aesthetic manifestos of Karel Teige. As a film director, he created a show of allusions, absurdity and exaggerations, by entering the entire catalogue of experiences, thoughts and techniques of being a “citizen of culture” into diagetic meaning.Guzek Mariusz, Niechciana obecność autora – filmowy przypadek Václava Havla [The Unwanted Presence of the Author – Václav Havel in Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 115–128. ISSN 1644-6763. DOI 10.14746/pt.2019.32.5.
Václav Havel had his views on film, participated in the life of the new wave artist community, had walk-on parts, wrote screenplays, and at the end of his life, made one picture based on his own stage drama Leaving. For Havel, film was a part of a larger cultural challenge, appointed by the Central European character of the second half of the 20th century. In his plays and essays, he discussed the topics of enslavement, lies and resistance to these, constructing a kind of antinomical model of self-power. Repeatedly, the starting point of his work was the Czech reflections included in the theoretical texts of Jan Ivo Osolsobě or the aesthetic manifestos of Karel Teige. As a film director, he created a show of allusions, absurdity and exaggerations, by entering the entire catalogue of experiences, thoughts and techniques of being a “citizen of culture” into diagetic meaning
Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach
Get PDFLewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13.
The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13.
The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us
Fenomenologia i performatyka gestu w tańcu współczesnym
Get PDFThe paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical phenomenological) interest in the modern and postmodern dance.The paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical phenomenological) interest in the modern and postmodern dance
Od fanów dla fanów. Komentarze serialowe jako nowe zjawisko komunikacyjne
Get PDFThe article addresses the question of the Internet activity of anonymous amateur translators and fans’ translations of subtitles for series using the example of Korean dramas. The authors focus on analysing the genre of commentary in the audiovisual narrative – TV series. The authors put forward the thesis that the synthetic model of communication in the Internet stimulates communication activity, which affects the transformation of language patterns. Series commentary has been considered to be a new type of genre pattern functioning in the media. What is novel is the kind of cultural text within which a given commentary appears. It may be compared to a commentary which is an explanation, a supplement to the text it refers to. It may also be compared to a more recent pattern – the Internet commentary.The article addresses the question of the Internet activity of anonymous amateur translators and fans’ translations of subtitles for series using the example of Korean dramas. The authors focus on analysing the genre of commentary in the audiovisual narrative – TV series. The authors put forward the thesis that the synthetic model of communication in the Internet stimulates communication activity, which affects the transformation of language patterns. Series commentary has been considered to be a new type of genre pattern functioning in the media. What is novel is the kind of cultural text within which a given commentary appears. It may be compared to a commentary which is an explanation, a supplement to the text it refers to. It may also be compared to a more recent pattern – the Internet commentary