2,647 research outputs found
Meshes of the afternoon: the possibility of poetic cinema in Maya Deren's film
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2004Abstract : This thesis examines the work of the filmmaker Maya Deren in the light of the aesthetics proposed by her main writings -"An Anagram of Ideas on Art, Form and Film"(1946), "Cinema as an Independent Art Form" (1946), "Cinematography: The Creative Use of Reality"(1960) -, as well as its relations to her first short film Meshes of the Afternoon, placing it among the numerous aesthetic and film trends in which it figured. Her writings depict a solid theoretic background, as well as her attempt to construct what she called "poetic cinema," through the conjunction of various forms of artistic expression. Such an attempt is made no less evident in the analysis of Meshes of the Afternoon, whose dream-like narrative evolves from the peculiar combination of symbolic elements and is responsible for the poetic effect coveted by the filmmaker.Esta dissertação tem como objetivo examinar o trabalho da cineasta Maya Deren, principalmente no que se refere à estética proposta por ela em seus principais escritos: "An Anagram of Ideas on Art, Film and Form" (1946), "Cinema as an Independent Art Form" (1946) "Cinematography: The Creative Use of Reality" (1960) - e à relação que estes estabelecem com seu primeiro curta-metragem Meshes of the Afternoon, situando-o em meio às inúmeras correntes estéticas e cinematográficas com as quais se relacionou. Seus escritos evidenciam uma formação teórica sólida, bem como sua tentativa de elaborar o que denominou de "poetic cinema,"através do encontro das diversas formas de expressão artística. Esta tentativa fica não menos evidente ao se analisar Meshes of the Afternoon, cuja narrativa de caráter onírico se desenvolve a partir de uma combinação peculiar de elementos simbólicos, responsável pelo efeito poético almejado pela cineasta
Edyta Stein w Rosji
No full textIn this article a reception of Edith Stein’s philosophy in Russian academic, religious, artistic and medial discourses is presented. The author discusses scholarly elaborations devoted to Stein, her presence in media, libraries and on the Internet. Then, the author analyses the actual state of research, notably feministic and gender approaches, as well as the issue of corporeality, artistic works devoted to Stein and the contents of information services and websites
A peça-paisagem de Gertrude Stein: traduzindo Four Saints in Three Acts
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Esta pesquisa foi realizada pensando na tradução da peça-paisagem, peça-ópera, Four Saints in Three Acts, escrita em 1927, pela autora norte-americana Gertrude Stein (1874-1946). A peça foi elaborada musicalmente por Virgil Garnett Thomson (1896 ? 1989), crítico e compositor americano que, após estabelecer uma amizade com Stein, pediu se ela poderia escrever um libreto, uma ópera, para que ele fizesse o arranjo musical. Four Saints, publicada na obra Last Operas and Plays (1949), inicia na página 440 e termina na página 480. Nesta pesquisa serão apresentadas duas traduções para o português brasileiro das primeiras seis páginas da peça ? páginas 440 a 445 ? escrita em língua inglesa. Uma das traduções teve o foco mais literal, buscando manter o significado das palavras; e a outra, considerando as peculiaridades do texto steiniano, teve o foco mais autoral, fazendo uma dosagem entre forma e conteúdo, privilegiando ambos. A peça foi apresentada pela primeira vez em 1934 no Wadsworth Atheneum museum, em Hartford, Connecticut, nos Estados Unidos. Duas semanas depois foi para a Broadway; também foi comentada em diversas colunas de jornais e em rádios, levando à fama uma nova forma de teatro.Abstract : This research was conducted considering the translation of the play-landscape, play-opera, Four Saints in Three Acts, written in 1927 by American author Gertrude Stein (1874-1946). The play was set to music by Virgil Garnett Thomson (1896 - 1989), American composer and critic who, after establishing a friendship with Stein, asked if she could write a libretto, an opera, for him to do the musical arrangement. Four Saints, published in the work Last Operas and Plays (1949), starts on page 440 and ends on page 480. In this research it will be presented two translations to Brazilian Portuguese of the first six pages of the play - pages 440 to 445. One of the translations had a more literal focus to keep the meaning of words; and the other, considering the steinian text peculiarities, had a more authorial focus, making a mix between form and content, focusing both. The play was first performed in 1934 at the Wadsworth Atheneum museum in Hartford, Connecticut, in the United States. Two weeks later it went to Broadway; it was also commented on several columns of newspapers and radio stations, leading to fame a new form of theater
Edyta Stein i Roman Ingarden -koncepcje człowieka
No full textIn this article the author reconstructs and compares two concepts of man in thoughts of two great phenomenologists – Edith Stein and Roman Ingarden – connectedjoint not only by the intellectual bond but also by great friendship. The paper consists of two parts. First, the author presents Stein’s and Ingarden’s philosophy of man. Suchnotions as: subject, soul, spirit and body, experience, self-experience and activity of will, are shown from two perspectives. By analysing terminology used by both Stein and Ingardenin their works, the author tried to depict an appropriate – according to them –psychophysical constitution of man. While discussing Stein’s concepts, the author demonstratesalso her transition from phenomenology to mystical domain as well as her inspirationof Saint John of the Cross’ and Saint Theresa of Ávila’s works. Ingarden did notenter as firmly as Stein into the mystical domain, yet he opened a path into the Transcendenceby creating a concept of metaphysical qualities
Edyta Stein w pamięci Wrocławia
No full textThe article seeks to explore the role of Edith Stein’s memory in creating the contemporary identity of the city of Wrocław. The author distinguishes between two forms of this memory, that is to say remembrance and symbolic places (lieux de mémoire). The places of remembrance of Edith Stein, who was born in Breslau, are connected with her biography and the time she spend in this city. The symbolic places of the memory of Edith Stein represent the values of her life (such as the European Peace Cross, meticulously analysed by the author). Both forms of memory variously transformed the space of the city in significant landscape
Edyta Stein,córka narodu żydowskiego
No full textThis article discusses the rich relation between Judaism and Christianity, one of the issues addressed by Stein in her intellectual explorations, as well as a matter pivotal in her life. By referring to Stein’s texts, her letters and other documents, as well as a claim made by commentators of her work and life, the author tries to expose numerous falsities and myths that arouse about Stein’s life. Beginning with an overview of Judaic tradition in which Stein grew up, the author then depicts the socio-political situation of Breslau as well as Stein’s family history. Next, C. Rastoin emphasises the moment when Stein recognised the power of Cross and joined the Catholic Church, yet at the same time did not cease to love the Jewish nation or feel a member of it. The last part of the text outlines Israel’s theology as well as a request for Judeo-Christian reconciliation and reciprocal respect
Edyta Stein w świetle ikony
No full textIn this article discussed is the phenomenon of icon sui generis and a phenomenon of Edith Stein as anicon. Stein’s philosophy of Light is inscribed into a philosophical lineage of the icon, especially platonic and neoplatonic, what leads to creating an idea of iconic cognition – its foundation is a connection between trace and reflection revealed in an icon which is both a representation and a presence of God. By referring to Stein’s late philosophy as well as her biography the author describes a merge between those two domains which leads to an absolute, iconic cognition and therefore allows presenting Stein as an iconic figure, which power reveals itself in her supernatural emanation. This emanation as well as a symbiosis between cognition and existence creates an essence of Edith Stein’s phenomenon
Europa a świadectwo Edyty Stein
No full textThis article, written from the legal and constitutional perspective, seeks to explore John Paul II’s reasons that made him announce Edith Stein the co-patroness of Europe. The author begins with recalling prior patrons of Europe that is Saint Benedict and Saint Cyril and Methodius, and juxtaposes it with further pope’s decision to add three saint women to them. It is also an occasion to discuss questions like: woman rights and request for their greater participation in the public sphere, the concept of ‘new feminism’, national and religious issues, ecumenical and interreligious dialogue, Judeo-Christian roots of the Europe, human rights and ‘civilisation of death’ – all related with Edith Stein. The last part of the article is devoted to the reflection on law: the natural and the so-called ‘good law’, as well as its establishment
Wierzyć według Edyty Stein
No full textThe author begins with noticing an apparent absence of the problem of faith in the twentieth-century philosophy and its surprising return at the end of this century, notably in Gianni Vattimo’s and Julia Kristeva’s works. By creating a kind of dialogue between Stein’s phenomenology and Kristeva’s psychoanalysis, the author analyses the concept of faith from those two apparently distinct perspectives. In the discussion of Stein’s attitude recalledare her personal experiences as a philosopher along with her claims on faith as a foundation of knowledge of God, supplied by love and acting. From Kristeva’s point of view, far from the former one, the need of faith is a result of specific ‘going beyond oneself’ that is necessary in a process of forming one’s personal identity. While Stein believes in God, Kristeva believes in man
Edyta Stein: Wiara jako decyzja
No full textIn this article the author discusses the problem of faith understood as one’s own choice. Two turning points in Edith Stein’s life that determined her fate are shown: her early atheism and her return into faith. The second part of the text is devoted to Stein’s very essential claim: ‘This is true! ‘, which, in the author’s opinion, has a historical, epistemological as well as metaphysical-religious dimension. In his discussion of the epistemological dimension, the author recalls Descartes’ theory of will, while in his explorations of the metaphysical-religious dimension, he separates the metaphysical (where Stein is juxtaposed with Roman Ingarden) and religious (acknowledgement that Jesus is a Personal Truth) elements. The last part of the text depicts Stein’s divergence from Husserl’s phenomenological reduction, as well as from concepts of absolutely Origin ‘I’, and assigning to God the main role in every activity of the ‘I’. The path that Stein passed – in a matter of understanding of human being – could be described as a path from Husserl to Saint Augustine
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