1,720,958 research outputs found
“Thinking Pleasant Thoughts about Poems”: Maria Wiercińska’s Poetic Fascinations
No full textArtykuł poświęcony jest działalności poetyckiej i recytatorskiej Marii Wiercińskiej w latach 1934–1939. Wybrano okres przedwojenny, w którym aktorka i reżyserka podejmowała własne próby poetyckie – w Muzeum Teatralnym w Warszawie zachowało się pięć jej wierszy. Do tej pory nie były one analizowane i publikowane. Tekst podzielony został na dwie części. W pierwszej przedstawiono tematykę i budowę wierszy aktorki, dowiedziono, że odwoływała się do młodopolskiej tradycji oraz poruszała tematy ważne dla poezji dwudziestolecia. Drugą część poświęcono programom recytatorskim. Źródłem był zeszyt Marii Wiercińskiej zatytułowany Spis koncertów i utworów recytowanych 1934–1954, w którym dokumentowała własną działalność recytatorską. Dotychczas nikt nie przeprowadził analizy tych koncertów. W badanym okresie Wiercińska przygotowała 114 programów poetyckich (mówionych na żywo i nagrywanych w radio). Analiza archiwaliów pokazuje, że Wiercińska recytowała utwory ponad stu autorów, głównie polskich poetów z okresu dwudziestolecia międzywojennego. Jej celem było propagowanie poezji współczesnej zarówno wśród inteligencji, jak i w środowisku robotniczym, edukowanie dorosłych, młodzieży i dzieci. W artykule zastosowano metodę krytycznej interpretacji źródeł, w tym analizę kontekstową.This article discusses Maria Wiercińska’s activity as a poet and reciter in 1934–1939. In the pre-war period, selected for analysis, the theatre actress and director tried her hand at poetry. Five poems have been preserved in the Theatre Museum in Warsaw; they have not been analysed or published to date. The article comprises two parts. The first one presents the subject matter and composition of Wiercińska’s poems, demonstrating that she referred to the Young Poland tradition and addressed themes important for Polish poetry of the interwar period. The second part of the article discusses Wiercińska’s recitation programs, based on her notebook listing her recitation concerts in 1934–1954. To date, these concerts have not been analysed. During the period under study, Wiercińska produced 114 poetry programmes (performed live or radio recorded). The analysis of the archive material shows that Wiercińska recited works by more than a hundred authors, mainly Polish poets from the interwar period. Her aim was to promote contemporary poetry among both the intelligentsia and labourers, to educate adults, youth, and children. The article uses the method of critical source interpretation, including contextual analysis
Bruno Schulz w \u27Umarłej klasie\u27 Tadeusza Kantora. Realność artystyczna i koneksje literackie
Full text linkThe inspiration that Tadeusz Kantor drew from the works by Schulz can be seen in many of his theatre performances. Like he did with Gombrowicz, Kantor never used one specific work to be staged in his theatre. The Dead Class is a piece where one can find influences by Witkacy, Gombrowicz and Schulz – probably the three most important writers for Kantor. In this article, I discuss the way Schulz, with his short story A Pensioner, is handled in the ‘Cricot 2’ performance. Even though many studies concerning this performance have been written and the connections between Kantor and Schulz seem to have been covered, I have not found any study of Dead Class which would indicate any specific references to A Pensioner. In the article, the following questions are explored: Can Schulz’s protagonist be recognized in the senile, childlike old people from Dead Class? Which passages of the short story were used by Kantor? How differently is the notion of death treated in the short story and in the performance? And finally, why – having been so fascinated with The Cinnamon Shops at a young age – did Kantor come back to Bruno Schulz’s writings only as a mature artist? In the article, I also discuss the strategies utilized by Kantor to adapt the non-theatrical prose for the stage.The inspiration that Tadeusz Kantor drew from the works by Schulz can be seen in many of his theatre performances. Like he did with Gombrowicz, Kantor never used one specific work to be staged in his theatre. The Dead Class is a piece where one can find influences by Witkacy, Gombrowicz and Schulz – probably the three most important writers for Kantor. In this article, I discuss the way Schulz, with his short story A Pensioner, is handled in the ‘Cricot 2’ performance. Even though many studies concerning this performance have been written and the connections between Kantor and Schulz seem to have been covered, I have not found any study of Dead Class which would indicate any specific references to A Pensioner. In the article, the following questions are explored: Can Schulz’s protagonist be recognized in the senile, childlike old people from Dead Class? Which passages of the short story were used by Kantor? How differently is the notion of death treated in the short story and in the performance? And finally, why – having been so fascinated with The Cinnamon Shops at a young age – did Kantor come back to Bruno Schulz’s writings only as a mature artist? In the article, I also discuss the strategies utilized by Kantor to adapt the non-theatrical prose for the stage
Theological Tropes in Piotr Cieplak's Theatre
No full textIn contemporary art, seemingly far from religious or faith-related affiliations, one can find many theological tropes: hidden values, symbols and motifs. Being focused on existential issues, touching upon the problems of suffering, dying, longing and love, theatre is still open to getting engaged in a dialogue with theology. Piotr Cieplak, one of the contemporary theatre directors that is worthy of greater attention, uses the language of “verging realities”, i.e. in his performances, he refers to the notions from the realm of theology. He is interested in such issues as faith, doubt, trust, hope and salvation. One of Cieplak’s inspirations at work is the thought of Tomasz Halik, an outstanding Czech theologian. His deliberations contained in the book Cierpliwość wobec Boga (Patience With God) can be a key to interpreting “Somkowy kapelusz” performance. This French farce dressed with T.S. Elliot’s poetry and read through the theological lens of Tomasz Halik becomes a story of patient waiting for an unnamed mystery. Here, Cieplak refers to the apophatic theology where God is described as the presence of Absence, a being impossible to embrace or label in any way. From this perspective, “Słomkowy kapelusz” is a story of a man who knows that he is an actor in the big theatre of the world, who believes, doubts, ask questions, longs but is unshakably waiting on the threshold of the mystery
«I’m Going on the Radio»: Maria Wiercińska’s Radio Work in 1946–1952
No full textTekst poświęcony jest twórczości Marii Wiercińskiej z lat 1946–1952, kiedy aktorka i reżyserka skupiła się na pracy dla radia, najpierw w Łodzi, potem we Wrocławiu. Źródłem badawczym jest rękopis Wiercińskiej, porządkujący prace radiowe oraz tekst jej słuchowiska Niebezpieczne życie (1935, premiera radiowa w reżyserii Michała Meliny w tym samym roku), dotychczas nieanalizowany i niepublikowany. Zachowany scenariusz pochodzi z 1946, wtedy Wiercińska sama reżyserowała słuchowisko (emisja 1947). Egzemplarz z notatkami i skreśleniami autorki umożliwia prześledzenie, jak rozumiała i realizowała zasady twórczości w nowym medium. Wymienione źródła oraz korespondencja Wiercińskiej potwierdzają, że radio było jej pasją, pokazują miejsce prac radiowych w jej dorobku i wpływ doświadczeń w dziedzinie recytacji na pracę z mikrofonem. Perspektywa mikrohistorii pozwala dokładnie zbadać wybraną formę działalności twórczej artystki nieco zapomnianej. Artykuł poszerza wiedzę o kobietach współtworzących polski teatr w XX wieku.This article is devoted to Maria Wiercińska’s work from 1946–1952, when the theatre actress and director focused on radio, first in Łódź and then in Wrocław. It presents the results of research based on Wiercińska’s manuscript listing her radio works of that time and on the script of her radio play Niebezpieczne życie (Dangerous Life, written and first broadcast in 1935 under the direction of Michał Melina), which has not been analysed or published to date. The extant script dates from 1946, when Wiercińska directed the radio play herself (broadcast in 1947). Thanks to the author’s notes and edits, it is possible to reconstruct her understanding and enactment of the principles of performance art in the new medium. These sources, as well as Wiercińska’s correspondence, confirm that radio was her passion, showing the place of radio work in her artistic output and the influence of her experience in recitation on her work with the microphone. The perspective of micro-history enables a thorough examination of this form of Wiercińska’s work, casting light on this somewhat forgotten figure. The article broadens the knowledge about women who co-created Polish theatre in the 20th century
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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