55 research outputs found
Panmaskarada. Maski i maskowanie u Brunona Schulza
No full textPaweł TomczokInstitute of Polish LiteratureFaculty of PhilologyUniversity of Silesia in KatowicePolandPanmasquerade. Masks and Masking in Bruno Schulz’s Fiction Abstract: The author of this article analyses different meanings of mask in Bruno Schulz’s fiction and non-fiction. In his critical statements Schulz contrasts mask with substance, the latter capable of assuming various masks. Taking into account the context of Cinnamon Shops, this can be read as a commentary on Schulz’s writing practice and as a strategy thus to mask his own biography. Another theme discussed in this article is that of the relation between mask and face in Schulz’s short stories. This discussion focuses on the social context of the different representations of the face and on the elimination of dialogues from the narratives: the narrator treats the characters’ facial features as source of knowledge about the world, rather than conversations with them. Keywords: Bruno Schulz, mask, autobiographyFor and abstract in Polish, scroll downPaweł TomczokInstitute of Polish LiteratureFaculty of PhilologyUniversity of Silesia in KatowicePolandPanmasquerade. Masks and Masking in Bruno Schulz’s Fiction Abstract: The author of this article analyses different meanings of mask in Bruno Schulz’s fiction and non-fiction. In his critical statements Schulz contrasts mask with substance, the latter capable of assuming various masks. Taking into account the context of Cinnamon Shops, this can be read as a commentary on Schulz’s writing practice and as a strategy thus to mask his own biography. Another theme discussed in this article is that of the relation between mask and face in Schulz’s short stories. This discussion focuses on the social context of the different representations of the face and on the elimination of dialogues from the narratives: the narrator treats the characters’ facial features as source of knowledge about the world, rather than conversations with them. Keywords: Bruno Schulz, mask, autobiographyFor abstract in English, scroll down.Panmaskarada. Maski i maskowanie u Brunona SchulzaAbstrakt: Celem artykułu jest omówienie różnych znaczeń maski w prozie i eseistyce Brunona Schulza. W wypowiedziach krytycznych pisarz wprowadza opozycję między maską a substancją – substancja przyjmuje różne maski. Te wypowiedzi odnoszą się także do praktyki pisarskiej autora Sklepów cynamonowych, który dokonuje zamaskowania własnej biografii. W artykule omawiam także relację między maską a twarzą w opowiadaniach Schulza – a szczególnie kontekst społeczny różnych przedstawień twarzy oraz zagadnienia eliminacji dialogu z opowiadań. Narrator nie czerpie informacji o świecie z rozmów z bohaterami, lecz raczej opisuje ich fizjonomię.Słowa kluczowe: Bruno Schulz, Bruno Schulz, maska, autobiografi
Maski Batmana. Kostium jako element narracji superbohaterskiej w komiksie
No full textTomasz ŻaglewskiDepartment of Culture StudiesAdam Mickiewicz Unversity in PoznańPolandMasks of Batman. The Costume as an Element of Superhero Narratives in ComicsThe main goal of the article is to present the theme of mask and costume in the superhero comic’s narratives as a key element not only for visual aspects of superheroes but also theirs psychological background. Using an example of Darwyn Cooke’s “Batman: Ego” comic book, the author presents a mask and a costume as “subjectified” creations in Cooke’s work. They become a starting points for a comic book’s stories which concentrate on the multilayered dependence between the mask-ed and un-mask-ed personality of a hero.Keywords: theory of comics, history of comics, text analysisCelem artykułu jest zaprezentowanie problematyki maski oraz kostiumu w komiksowych narracjach superbohaterskich, jako kluczowego elementu nie tylko w zakresie konstruowania wizualnego aspektu superbohaterów, ale także ich psychologicznego tła. Posługując się wybranym przykładem tego typu narracji – komiksem „Batman: Ego” Darwyna Cooke’a – autor stara się przedstawić figurę maski oraz kostiumu jako „upodmiotowione” w dziele Cooke’a twory, które mogą stać się punktem wyjścia dla konstruowania konkretnych fabuł komiksowych, stawiających w swoim centrum niejednoznaczne zależności pomiędzy za-maskowaną a zde-maskowaną osobowością wybranego bohatera.Masks of Batman. The costume as an element of a superhero narratives in comicsThe main goal of the article is to present the theme of mask and costume in the superhero comic’s narratives as a key element not only for visual aspects of superheroes but also theirs psychological background. Using an example of Darwyn Cooke’s “Batman: Ego” comic book, the author presents a mask and a costume as “subjectified” creations in Cooke’s work. They become a starting points for a comic book’s stories which concentrate on the multilayered dependence between the mask-ed and un-mask-ed personality of a hero
Motyw maski we włoskiej komedii teatralnej i filmowej
No full textThe mask is an omnipresent and meaningful element of the Italian, as well as European culture. It was used to fulfill disparate roles. In the theater the mask was used to depict the caricatures of gods, heroes or popular types and with the passage of time it became established on the theatrical scene of the Renaissance, commedia dell'arte or Goldoni's. With such a profound and strong tradition, it's not a surprise that the phenomenon of mask has passed to the cinema. The present contribution proposes to analyze briefly the most significant moments of the mask on the Italian stages of the past and then to pay attention to the use of the mask or its elements in the cinema. The most interest will be dedicated to the films of Italian-style comedy, the genre born in the late Fifties, when Italy was about to live the Italian economic miracle, and its characters which seem to be the new version of the mask. The author will concentrate on four the most popular types which clearly recall masks of the past, as well as reflect some new tendencies.La maschera accompagna la vita dell'uomo sin dalla notte dei tempi e veniva chiamata a svolgere innumerevoli funzioni: si indossava per proteggere il viso durante le battaglie, era legata alle antiche pratiche funerarie, magiche o religiose o per celare la propria identità durante le feste. Nell'ambito teatrale la maschera è presente dall'antichità, quando raffigurava le caricature degli dei, degli eroi o dei tipi popolari. Con il passare del tempo le maschere, intese come volti finti, vengono sostituite dalle maschere di carattere in cui gli elementi fissi erano costituiti dai tratti personali o dalla professione svolta. Già nelle commedie greche e latine di Aristofane, Menandro, Plauto o Terenzio trovarono largo spazio i personaggi tipo, di pronta caratterizzazione, partecipi di modelli dell'intrigo, destinati a occupare il palcoscenico per secoli. Celem niniejszego artykułu jest zwrócenie uwagi na wszechobecność i znaczenie maski nie tylko w dyskursie teatralnym, ale także w filmie. Maska jest bowiem motywem przewodnim całej twórczości artystycznej we Włoszech. Typowym przykładem stałego pojawienia się symbolu maski jest włoski par excellence gatunek filmu, czyli commedia all'italiana. Esej proponuje krótką refleksję na temat motywu maski, łączącego twórczość teatralną i filmową
Nikolai Evreinov and Edith Craig as Mediums of Modernist Sensibility
No full textNikolai Evreinov (1870-1953) was a Russian playwright, director, and theorist of the theatre who played a leading part in the modernist movement of Russian theatre. Evreinov's 1911 monodrama The Theatre of the Soul (V kulisakh dushi) was staged by the Crooked Mirror theatre in St Petersburg in 1912. It was also performed in London (1915) and Rome (1929), and inspired Man Ray to create his aerograph The Theatre of the Soul (1917). In this article Alexandra Smith links Evreinov's play to Russian modernist thought shaped by the atmosphere of crisis associated with the Russo-Japanese War and the first Russian Revolution. It demonstrates that Edith Craig's production of Evreinov's play suggests that the philosophy of theatricalization of everyday life might enable modern subjects to overcome the fragmentation of modern society. Craig's use of the montage-like techniques of Evreinov's play prefigures cinematographic experiments of the 1920s and Marinetti's notion of synthetic theatre. Alexandra Smith is a Reader in Russian Studies at the University of Edinburgh and is the author of The Song of the Mockingbird: Pushkin in the Works of Marina Tsvetaeva (1994) and Montaging Pushkin: Pushkin and Visions of Modernity in Russian Twentieth-Century Poetry (2006), as well as numerous articles on Russian literature and culture.</p
Panmaskarada. Maski i maskowanie u Brunona Schulza
No full textThe author of this article analyses different meanings of mask in Bruno Schulz’s fiction and non-fiction. In his critical statements Schulz contrasts mask with substance, the latter capable of assuming various masks. Taking into account the context of Cinnamon Shops, this can be read as a commentary on Schulz’s writing practice and as a strategy thus to mask his own biography. Another theme discussed in this article is that of the relation between mask and face in Schulz’s short stories. This discussion focuses on the social context of the different representations of the face and on the elimination of dialogues from the narratives: the narrator treats the characters’ facial features as source of knowledge about the world, rather than conversations with them
Against representation and other traps
No full textIn her article, created on the basis of her master’s thesis White Skin, Black Masks. Selected Representations of Blackness and Whiteness in Polish Contemporary Theatre (Biała skóra, czarne maski. Wybrane reprezentacje Czarności i białości w polskim teatrze współczesnym), Mazurkiewicz reflects on contemporary representations of Blackness and whiteness in Polish theatre using the example of the performance Black Skin, White Masks (Czarna skóra, białe maski) directed by Wiktor Baginski. The author defines the key concepts of the argument, i.e. Blackness and whiteness based on the work of researchers Michelle M. Wright, Reni Eddo-Lodge and Emma Dabiri, and provides a local context to these concepts by applying to them the categories of centre and semi-periphery drawn from the writings of Maria Janion, Dorota Sajewska and Andrzej W. Nowak, in search of answers to the questions of what specifically characterises Polish racism and what the scope of the Polish anti-racist discourse is. In a detailed analysis of Black Skin, White Masks, the author examines the story within a story structure of the play and the representation of ‘race’ that is actuated by Baginski as a performative construct. She cites the peculiarly semi-peripheral story of the visits of Black slaves to the courts of the Polish nobility, which is staged in the first part of the performance, and summarises the self-theatrical discussion of the ‘Racists Anonymous group’ moderated by the stage porte-parole of the director in the second part. When interpreting Baginski’s role, the author concludes that the artist consistently strives for his own individuality and seeks to resign from representing Black Poles despite his unique position as the only Black Polish theatre director. The author critiques the tools that Baginski uses to achieve this goal, i.e. misogyny and the affective reproduction of violence against women. She proposes an intersectional view of racism
Wiersze
No full textPoems
Kwiatkowski’s poems resemble the spirit of The Spoon River Anthology by Edgar Lee Masters, The Chronicles of the Town of Pornic by Czesław Miłosz, and uprising poems by Anna Świrszczyńska. The author is interested in the mask lyric and attempts to lead his poetry in to the domain of fact, while neither leaving the sphere of poetry nor entering the sphere of journalism.
Wiersze
Poezja utrzymana w duchu Umarłych ze Spoon River Edgara Lee Mastersa, Kronik miasta Pornic Czesława Miłosza i wierszy powstańczych Anny Świrszczyńskiej. Autora interesuje liryka maski i próba wyprowadzenia poezji na teren faktu przy jednoczesnym niewychodzeniu poza sferę poezji i niewchodzeniu w sferę publicystyki
Intertextual Masks of Joseph Conrad
No full textThe article analyses Joseph Conrad’s reminiscences from the perspective of intertextuality.
The author argues that Conrad, in order to write about his biography, employed
a number of intertextual masks – an intertextual filter. Enlarging on the events
from his past life, he employed various literary conventions, eg. parody, travesty, quotation
or paraphrase. W artykule są analizowane wspomnienia Josepha Conrada A Personal Record
z perspektywy intertekstualności. Autorka stawia tezę, że Conrad potrzebował swoistego
„filtra intertekstualnego”, „intertekstualnej maski”, aby pisać o swojej biografii.
Przedstawiając wydarzenia z własnego życia, zastosował różne konwencje literackie,
m.in. parodię, trawestację, cytat i parafrazę
Obraz i jego cień. O związkach fotografii, magii i śmierci w kontekście teorii Hansa Beltinga: (Artykuł w języku polskim)
No full textThe paper explores the anthropological meanings of photography and its connections with other visual media representing the human being. Complementing a long tradition of anthropological conceptualizations of the mask, Hans Belting’s theory of photography – treating it as a new form of a death mask – allows one to identify additional senses and paradoxes of this particular art form. By adopting Belting’s perspective, the author seeks to demonstrate how this medium manifests itself as unique by allowing one to trace historical transformations in our approach to the human body and its finitude. Also, by simultaneously defying death and acknowledging it, photography surfaces as an exceptional testimony to the twentieth-century drive to conceal death as well as to the universal desire to preserve life. Thus, Belting’s concept of photography may be argued to offer a point of departure for an analysis of photography as a life simulation strategy.Artykuł poświęcony został antropologicznemu znaczeniu fotografii i jej odniesieniom do innych mediów reprezentujących obraz człowieka. Fotografię, jak pisał Hans Belting, zwolennik koncepcji antropologicznego spojrzenia na sztukę, należy rozumieć jako nowy rodzaj maski pośmiertnej. Teoria rozumienia fotografii jako maski ma długą tradycję i została poświadczona w głównych tekstach programowych poświęconych sztuce fotografii (Benjamin, Sontag, Barthes). Perspektywa Beltinga pozwala jednak na wyodrębnienie ukrytych znaczeń i paradoksów wynikających z funeralnych korzeni przedstawienia człowieka. W tekście zostają zrekonstruowane główne koncepcje maski powstałe na przestrzeni dziejów (maska pośmiertna, maska teatralna, maska balowa), dzięki czemu znaczenie fotografii traktowanej jako maska staje się pełniejsze. W ten sposób ujęta zostaje wyjątkowość fotograficznego przedstawienia, łączącego wszystkie konteksty rozumienia maski. Potraktowanie fotografii jako kolejnego w historii medium służącego ludzkiej reprezentacji pozwala na prześledzenie głównych zmian w podejściu do ciała i ludzkiej skończoności. Fotografia okazuje się najbardziej wyjątkową techniką reprezentacji ponieważ sprzeciwia się śmierci i zarazem ją potwierdza – jest świadectwem XX-wiecznej próby ukrycia śmierci i uniwersalnego pragnienia zachowania życia. Fotografia bowiem, wpisując się w zmianę jaka dokonała się w XVIII i XIX wieku, zapewnia fotografowanemu pamięć, która traktowana jest wówczas jako symbolicznie “miejsce” pośmiertnego życia. Koncepcja obrazu i medium Beltinga stwarza kontekst do rozważań o fotografii jako strategii mającej na celu symulację życia.  
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