30,288 research outputs found
On Maria Komornicka in scholarly and literary parlance (of Brygida Helbig and Izabela Filipiak)
No full textGabriela Matuszek w artykule O Marii Komornickiej językiem naukowym i literackim (Brygidy Helbig i Izabeli Filipiak) poddaje interpretacji pisarstwo kobiece, którego istotnym tematem jest dramat płci i fenomen transgresji podmiotu kobiecego w podmiot męski. Interesuje ją potrójnie nawarstwiający się kobiecy dyskurs: w jaki sposób Komornicka przedstawia swoje bohaterki, jak twórczość Komornickiej interpretowana jest przez badaczki oraz jakie wątki i tematy podejmują obie autorki w swych utworach literackich. Przedmiotem interpretacji są dwie rozprawy naukowe: Strącona bogini Helbig-Mischewski i Obszary odmienności Filipiak oraz dwa utwory literackie oparte na biografii Marii Komornickiej: dramat Filipiak Księga Em oraz powieść Helbig Inna od siebie. Helbig-Mischewski w rozprawie habilitacyjnej interpretuje bohaterki Komornickiej jako ofiary społecznego "systemu okaleczania", ale zwraca także uwagę na ambiwalencje ich feministycznej samoświadomości, które są sygnałem przejścia autorki na stronę męskości. Interesuje ją geneza i ukryty sens "choroby" Komornickiej. Filipiak sytuuje siebie w roli detektywa jako interpretatora kultury i próbuje odnaleźć ślady kulturowej zbrodni dokonanej na autorce Biesów. Interesuje ją m.in. seksualność Komornickiej, możliwość postrzegania jej przez współczesnych jako lesbijki. Teksty literackie obu badaczek zasadniczo różnią się od siebie. Powieść Helbig, mimo porywającej fikcyjności, oparta jest na dokumentach - wyobraźnia autorki zapełnia miejsca puste, nie zdąża jednak w kierunku odkrycia potencjalnego homoseksualizmu, lecz przyczynę wyboru męskiej tożsamości dostrzega raczej w traumatycznych doświadczeniach z seksualnością i mężczyznami oraz w chorobie. Dramat Filipiak rozgrywa się w surrealnych przestrzeniach i przedstawia Komornicką jako third gender - unikatową odmianę kulturowej płci, naznaczonej polskością. Autorce sztuki chodziło o to, aby - wzorem Almodóvara czy Caryl Churchill - pokazać swoiście polską konkretyzację transgresji, a jednocześnie nadać jej wymiar ogólnoludzki.In her article O Marii Komornickiej językiem naukowym i literackim (Brygidy Helbig i Izabeli Filipiak), [On Maria Komornicka in scholarly and literary parlance (of Brygida Helbig and Izabela Filipiak)] Gabriela Matuszek puts an interpretation on women’s writing whose dominant topics are human tragedy of gender and the phenomenon of transgressing gender boundaries, female-to-male transition in particular. She analyzes the three-layered feminine discourse: firstly, she is interested in the way in which Komornicka depicts her characters, secondly, she shows how Komornicka’s oeuvre is interpreted by female scholars, and thirdly, she discusses the issues which both above-mentioned writers raise in their books. Matuszek examines both two scientific dissertations: Helbig-Mischewski’s Strącona bogini (A Dethroned Goddess) and Filipiak’s Obszary odmienności (Areas of Otherness) and two literary works based on Maria Komornicka’s biography: Filipiak’s theatrical play Księga Em (Em’s Book) and Helbig’s novel Inna od siebie (Different from Herself). In her habilitation thesis Helbig-Mischewski interprets Komornicka’s female characters as victims of the social "system of mutilation", but also emphasizes the ambivalence of their feminist self-awareness which signal the author’s transition to the masculinity. She focuses on the origin and the hidden meaning of Komornicka’s "illness". Filipiak performs the role of a detective who construes culture and tries to find the traces of a cultural crime committed on author of The Devils. She explores Komornicka’s sexuality and ponders on the possibility of perceiving her as lesbian by her contemporaries. The texts written by two scholars are fundamentally different. Despite its compelling fictitiousness, Helbig’s novel is based on actual documents - the author’s imaginations fill in the blanks, yet it does not strive after the discovery of Komornicka’s potential homosexuality, seeing the reason for her choice of the male identity in both traumatic experiences concerning her sexuality and men and in her illness. Set in a surreal space, Filipiak’s play portrays Komornicka as a representative of the unique and culturally conditioned “third gender”, heavily influenced by her Polishness. Following the examples of Almodóvar or Caryl Churchill, the playwright aimed to show the Polish one-of-a-kind exemplification of gender transgression, but also to highlight its more universal human aspect
Kronika naukowa za rok 2012
No full textChronicle of scholarly events (2012)Maria Filipiak (Universität Göttingen), 2012 Chronicle of Legal and Constitutional History Research in GermanyMichal Považan (Comenius University, Bratislava), Legal History in Slovakia – Report on Events and Activities in 2012Roman Shandra (Ivan Franko Lviv National University), Brief Review of Scientific Events in Legal History in Ukraine in 201
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
Być po stronie wykluczonych – Izabela Filipiak (Izabela Morska)
No full textIzabela Filipiak, as a one of the first authors in free Poland, undertook a creation of a narrative of the other, and took the perspective of the excluded. In a famous novel from 1995 entitled “Absolute amnesia”, which hangs over on the motive of maturation, she narrated about the peace of history of the PRL (Polish National Republic), which relates to the events in the coastal area of Gdańsk in 1970, seen with eyes of a young girl, who considered the reality of those times on her own. Surely Izabela Filipiak can be regarded as a representative of the nowadays fashionable and readily practiced herstory. She developed further this trend in her writings consequently, at the level of the methadiscourse in her textbook-essay: “Creative writing for the young girls” and also in a discourse devoted to Maria Komornicka, entitled: “Areas of difference”. A monograph, as formulated in a review by Krystyna Kłosinska, is a place from which the cultural mechanisms of the exclusion can be seen. Izabela Filipiak shows a rebellious attitude toward a discourse which implements a symbolic violence, based on awarding a right to a majority, only because it is a majority. She takes a part of the excluded both with her writings and her own biography (she was 1998 the first known person in a polish public life, who decided for coming out and publicly disclosed her lesbian sexual orientation). She had been also a president of the antidiscrimination Foundation of Writers for the peace, which declared “initiation and support of the creative activities of people belonging to minority groups”. In this sense Izabela Filipiak can be out of doubt regarded as defiant and a person who attempt to deconstruct the present system of standards, as far as such issues are concerned as a gender and sexuality. She is a feminist, an essential personage for the polish gender studies. Izabela Filipiak represents the writer (innovator and apocrypha author), the publicist and the scientist. With her creation, she contributed to the development to the polish queer studies. For her opposition to the exclusion of the other she paid a high price and had decided to leave temporarily the country and to live as emigrant.Izabela Filipiak, jako jedna z pierwszych twórczyń w wolnej Polsce, podjęła się konstruowania narracji Innego, przyjęła w swojej twórczości perspektywę wykluczonych. W głośnej powieści z 1995 roku pt. „Absolutna amnezja”, osnutej na motywie dojrzewania, opowiedziała fragment historii PRL-u (wydarzenia na Wybrzeżu z roku 1970) widzianej oczyma dziewczynki/dorastającej dziewczyny, na swój sposób kontestującej rzeczywistość tamtego czasu. Śmiało można uznać I. Filipiak za reprezentantkę tak modnej dziś i chętnie uprawianej herstorii. Ten trend pisarka będzie rozwijała w swojej twórczości konsekwentnie, na poziomie metadyskursu poprzez podręcznik-esej „Twórcze pisanie dla młodych panień”, aż po rozprawę poświęconą Marii Komornickiej, zatytułowaną „Obszary odmienności”. Monografia stanowi – jak to ujęła w recenzji Krystyna Kłosińska – „miejsce, z którego można zobaczyć kulturowe mechanizmy wykluczeń”. I. Filipiak wykazuje się postawą niepokorną względem dyskursu stosującego przemoc symboliczną, opartego na przyznawaniu racji większości tylko z racji tego, że jest większością. Opowiada się zarówno swoją twórczością, jak i biografią po stronie wykluczonych (w 1998 roku była pierwszą znaną osobą w polskim życiu publicznym, która zdecydowała się na „coming out”, publicznie mówiąc o swojej lesbijskiej orientacji psychoseksualnej; była też prezeską antydyskryminacyjnej Fundacji Pisarze dla Pokoju, deklarującej „inicjowanie i wspieranie twórczej działalności osób należących do grup mniejszościowych”). W tym sensie niewątpliwie można uznać Izabelę Filipiak za niepokorną – dekonstruującą dotychczasowy system norm, w tym w dużej mierze w odniesieniu do zagadnienia ludzkiej płciowości i seksualności; jest ona feministką, jedną z istotnych postaci dla polskich „gender studies”. I. Filipiak jest zarówno pisarką (nowatorką, apokryfistką), publicystką, jak i naukowczynią. Swoją twórczością przyczyniła się do rozwoju polskich „queer studies”. Za niezgodę na społeczne wykluczanie Innego płaciła wysoką cenę, okresowo decydując się na wyjazd z kraju i status emigrantki.Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
O curso de licenciatura em educação física da Universidade Federal de Santa Catarina: suas concepções de ensino e de educação física
No full textDissertação (mestrado) - Universidade Federal de Santa Maria. Centro de Educação Fisica e Desporto
Erratum: Lack of immunity against rubella among Italian young adults. [BMC Infect Dis., 17, (2017) (199)] Doi: 10.1186/s12879-017-2295-y
No full textAfter publication of this article [1], the authors noted that the given names and family names of all authors had been inverted, and are therefore incorrect in the original article. In the original article, the author names appear as the following: Gallone Maria Serena, Gallone Maria Filomena, Larocca Angela Maria Vittoria, Germinario Cinzia and Tafuri Silvio. However, this is incorrect, and the author names should appear as per the below: Maria Serena Gallone, Maria Filomena Gallone, Angela Maria Vittoria Larocca, Cinzia Germinario, Silvio Tafuri. The author names have been corrected in the author list and the citation for this Erratum
Imagens de Otto Maria Carpeaux: esboço de biografia
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015.Este esboço de biografia procura citar algumas imagens de Otto Maria Carpeaux: construções biográficas de naturezas múltiplas, elaboradas em contextos, por atores e sob condições igualmente díspares. Está constituído a partir de uma visão crítica da História, o que permite que ?outras imagens?, fragmentárias e não monumentais, também tenham espaço. Em diálogo com o princípio da montagem, este esboço apresenta-se em duas partes. Na primeira, Imagens possíveis, estão citadas as imagens elaboradas em vida e post mortem acerca do austríaco-brasileiro que nasceu em Viena em 1900, se exilou no Brasil em 1939 e morreu no Rio de Janeiro, em 1978. Na segunda, Montagens possíveis, apresentam-se duas possibilidades de exercício biográfico: pela leitura alegórica do documentário O velho e o Novo (Otto Maria Carpeaux), entendido como instrumento de intervenção no contexto ditatorial brasileiro e de uma reelaboração biográfica concernentes às suas experiências europeias; e pelo Caderno de imagens críticas, registro dos encontros em Carpeaux pelo meio de imagens críticas produzidas a partir da cesura do presente.Abstract : This biographical sketch attempts to quote some images of Otto Maria Carpeaux: various types of biographical constructions, carried out in different contexts by disparate authors under conditions just as distinct. It stems from a critical view of history, allowing for ?other images? fragmented and non-monumental ? to share the space.In dialogue with the montage principle, this sketch has two parts. The first, Possible Images, quotes the images produced during and after the life of the Austrian-Brazilian, who was born in Vienna in 1900, went to Brazil in exile in 1939 and died in Rio de Janeiro in 1978. The second part, Possible Montages, presents two possibilities of a biographical exercise: through the allegorical reading of documentary O Velho e o Novo (Otto Maria Carpeaux), understood as an instrument of intervention in the Brazilian dictatorship context and as a biographical retelling of the author?s European experiences; and through my Scrapbook of Critical Images, a record of the encounters in Carpeaux through critical images produced from the caesura of the present
Maria José ao encontro de Tchekov
No full text“A Carta da Corcunda para o Serralheiro” (“Letter from the Hunchback Girl to the Metalworker”), signed by Maria José, was first performed in a theatre show in 1988 (by actress-director Maria do Céu Guerra), two years before the typescript was published in book form for the first time by Teresa Rita Lopes. The evidence upon which this article is built is that it was the theatre that revealed the dramatic destination of this singular epistle of the only female heteronym that Fernando Pessoa invented, which was also the last heteronym to be created by the author. The dramatic construction of Maria José can be approximated to the character-building strategies in Anton Chekhov’s realist dramaturgy, in a way that differs from Pessoa’s other dramaturgical experiences. The analysis of Chekhov’s ascendancy over Stanislavski’s research, as well as the importance of Schopenhauer’s conception of the tragicomic, which is simultaneously projected onto Chekhov’s theatre and Maria José’s profile, are favourable lines of reading for this rapprochement between Pessoa and the Russian fiction writer and playwright. Pessoa’s readings of Chekhov’s texts (such as the play Uncle Vania and the short story “Vanka”) provide relevant data for assessing the magnitude of this encounter.“A Carta da Corcunda para o Serralheiro”, assinada por Maria José, começou por ser difundida num espectáculo de teatro em 1988 (pela actriz-encenadora Maria do Céu Guerra) dois anos antes de o dactiloscrito se ver publicado em livro, pela primeira vez, por Teresa Rita Lopes. Parte-se da evidência de ter sido o teatro a revelar a destinação dramática da epístola singular do único heterónimo mulher que Fernando Pessoa inventou, que terá sido também o último a ser criado pelo autor. A construção dramática de Maria José pode ser aproximada às estratégias de construção de personagem na dramaturgia realista de Anton Tchekov, de um modo que se distingue de outras experiências dramatúrgicas de Pessoa. A análise do ascendente de Tchekov sobre as pesquisas de Stanislavski, bem como a importância da concepção de tragicómico em Schopenhauer, que se projecta em simultâneo sobre o teatro de Tchekov e sobre o perfil de Maria José, são linhas de leitura propícias para esta aproximação entre Pessoa e o ficcionista e dramaturgo russo. As leituras de textos de Tchekov por parte de Pessoa (como o caso da peça Tio Vânia e o conto “Vanka”) fornecem dados relevantes para avaliar a magnitude deste encontro
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