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Znak i interpretacja. Czy możliwa jest semiotyka hermeneutyczna?
Get PDFThe article „Sign and interpretation” is an attempt to answer the question of the possibility of the existence of hermeneutic semiotics. The discussion relates essentially to problems such as sign and interpretation. The author analyzes the selected threads of thought of Charles Sanders Peirce, showing their similarity to the hermeneutics of Heidegger and Gadamer.The article „Sign and interpretation” is an attempt to answer the question of the possibility of the existence of hermeneutic semiotics. The discussion relates essentially to problems such as sign and interpretation. The author analyzes the selected threads of thought of Charles Sanders Peirce, showing their similarity to the hermeneutics of Heidegger and Gadamer
Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury
Get PDFThe author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history
„W ogóle jestem niechętny dźwiękom”. Muzyka w filmie Tatarak Andrzeja Wajdy
Get PDFThe aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the most enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work.The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the most enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work
Andrzej Wajda – reżyser przestrzeni
Get PDFAt the end of the 20th century in Kraków Andrzej Wajda began to implement his architectural vision. With the Manggha Museum of Japanese Art and Technology he created a counterpoint to the Wawel hill on the opposite bank of the Vistula. Another precedent was the intimate “Wyspiański 2000 Pavilion”, finally erected between 2005–2007 at plac Wszystkich Świętych. Through his architectural vision and creations he etched himself permanently in the identity of Kraków. Wajda proved that it is possible to understand the city as a creation, as a living work of art. His imagination and determination proved that this does not only need to be through the illusion of film.At the end of the 20th century in Kraków Andrzej Wajda began to implement his architectural vision. With the Manggha Museum of Japanese Art and Technology he created a counterpoint to the Wawel hill on the opposite bank of the Vistula. Another precedent was the intimate “Wyspiański 2000 Pavilion”, finally erected between 2005–2007 at plac Wszystkich Świętych. Through his architectural vision and creations he etched himself permanently in the identity of Kraków. Wajda proved that it is possible to understand the city as a creation, as a living work of art. His imagination and determination proved that this does not only need to be through the illusion of film
Archiwum Andrzeja Wajdy
Get PDFThe author offers a concise description of the contents of the Andrzej Wajda Archive, which is located in the Manggha Museum of Japanese Art and Technology in Kraków. His enormous legacy comprises not just his film and theatre work, but the whole of the director\u27s exceptionally colourful and intensive creative, political and social activity.The author offers a concise description of the contents of the Andrzej Wajda Archive, which is located in the Manggha Museum of Japanese Art and Technology in Kraków. His enormous legacy comprises not just his film and theatre work, but the whole of the director\u27s exceptionally colourful and intensive creative, political and social activity
Laudacja dla Andrzeja Wajdy
Get PDFDuring the laudation speech on 12th May 2016 at the Jagiellonian University Senate session on the occasion of Andrzej Wajda being awarded the gold medal Plus Ratio Quam Vis, the director’s most significant services to Polsh and world culture (film, theatre, museum art) were presented.During the laudation speech on 12th May 2016 at the Jagiellonian University Senate session on the occasion of Andrzej Wajda being awarded the gold medal Plus Ratio Quam Vis, the director’s most significant services to Polsh and world culture (film, theatre, museum art) were presented
Dramatyczne przestrzenie Andrzeja Wajdy
Get PDFThis editorial is an impressionistic work on Andrzej Wajda’s output, predominantly emphasising its dramatic nature. The text presents the uniqueness of Andrzej Wajda’s creative work in such diverse forms of art as if they were one – his painting metamorphosed into film, drawing into screenplay, urban space into a theatre stage. Wajda is seen here not only as a director, but also as a contemporary dramatist, who creates the dramatic space of history’s traps, who dramatises the fate of the individual, and who interprets the drama of the philosophical stage.This editorial is an impressionistic work on Andrzej Wajda’s output, predominantly emphasising its dramatic nature. The text presents the uniqueness of Andrzej Wajda’s creative work in such diverse forms of art as if they were one – his painting metamorphosed into film, drawing into screenplay, urban space into a theatre stage. Wajda is seen here not only as a director, but also as a contemporary dramatist, who creates the dramatic space of history’s traps, who dramatises the fate of the individual, and who interprets the drama of the philosophical stage
Wajda i aktorzy
Get PDFAndrzej Wajda was one of those directors who created their actors in the way he allowed them to truly shape his films and theatre performances. The presence of his actors is striking in Wajda’s work, not only in the professional sense but also the human element. On numerous occasions Wajda emphasised that the only moment of true inspiration in his work is in the process of casting. While selecting actors he stayed extremely close to the characters, and in his quest for the right person he asked: “Who, in today’s social and existential situation, should play this character?” In his work he afforded his actors great freedom, which enabled them to develop their talents to the full. However, realising he could not always meet expectations with tried and tested actors, he sought out new faces and made radical changes to his team, which was often a source of frustration for actors. Aware of this lack of fulfillment, Wajda sometimes made it the subject of his films, sometimes returning to actors cast aside years earlier.Andrzej Wajda was one of those directors who created their actors in the way he allowed them to truly shape his films and theatre performances. The presence of his actors is striking in Wajda’s work, not only in the professional sense but also the human element. On numerous occasions Wajda emphasised that the only moment of true inspiration in his work is in the process of casting. While selecting actors he stayed extremely close to the characters, and in his quest for the right person he asked: “Who, in today’s social and existential situation, should play this character?” In his work he afforded his actors great freedom, which enabled them to develop their talents to the full. However, realising he could not always meet expectations with tried and tested actors, he sought out new faces and made radical changes to his team, which was often a source of frustration for actors. Aware of this lack of fulfillment, Wajda sometimes made it the subject of his films, sometimes returning to actors cast aside years earlier
„Pan sądzi, że koniec bliski?”. Późny modernizm, duchy kina i Wesele Andrzeja Wajdy
Get PDFThe aim of the article is to place Andrzej Wajda’s work from the early 1970s in the late-moderist trend developing in Polish film at that time. The best example of this is The Wedding (1972), which implements modernist strategies of subjectification, self-reflection and stylisation at the artistic and narrative level. The presence of ghosts in this film especially leads to a theoretical discussion on the spectral nature of the medium of film.The aim of the article is to place Andrzej Wajda’s work from the early 1970s in the late-moderist trend developing in Polish film at that time. The best example of this is The Wedding (1972), which implements modernist strategies of subjectification, self-reflection and stylisation at the artistic and narrative level. The presence of ghosts in this film especially leads to a theoretical discussion on the spectral nature of the medium of film
Posągi jako źródła nowej epistemologii (przypadek Michela Serresa)
Get PDFThe article attempts to read the metaphor of the statue in Michel Serres’ philosophical discourse. Sculpture understood in the broad sense, as Serres proposes in Statues: The Second Book of Foundations, enables him to trace a whole array of concepts in western thought, and to make the statue itself a model of new cognition, extending beyond binary oppositions and open to unpredictability and a lack of continuity. For Serres a statue also offers the possibility to cross the boundaries of science and the humanities, and consequently to become, at the same time, both a critical and utopian figure.The article attempts to read the metaphor of the statue in Michel Serres’ philosophical discourse. Sculpture understood in the broad sense, as Serres proposes in Statues: The Second Book of Foundations, enables him to trace a whole array of concepts in western thought, and to make the statue itself a model of new cognition, extending beyond binary oppositions and open to unpredictability and a lack of continuity. For Serres a statue also offers the possibility to cross the boundaries of science and the humanities, and consequently to become, at the same time, both a critical and utopian figure