1,720,963 research outputs found
ARTIST, MYTH AND METAPHOR. ABOUT “TREŚĆ UCZUCIOWA REWOLUCJI” BY ANDRZEJ WRÓBLEWSKI
No full textNiniejszy artykuł koncentruje się na obecności wyobraźni mitologicznej w twórczości jednego z najwybitniejszych malarzy powojennych. Autorka podejmuje w nim próbę zdefiniowania mitu obecnego w dziełach Andrzeja Wróblewskiego powstałych w latach czterdziestych i pięćdziesiątych. Zwraca uwagę na trzy możliwe sposoby jego odczytania. Stąd omówieniom poddaje mit orficki, mit odrzuconego artysty oraz mit nowego kosmosu. Interpretacja sztuki Andrzeja Wróblewskiego skierowana jest dodatkowo na omówienie kilku problemów, między innymi: statusu jego obrazów we współczesnej krytyce, rewersów biografii artystycznej, a także języków modernizmu, jakie od lat pięćdziesiątych funkcjonują w opowieściach o malarzu.This article focuses on the presence of mythological imagination in the work of one of the greatest post-war painters. The author defines the myth present in the works of Andrzej Wróblewski created in the 1940s and 1950s. The author presents three possible ways of understanding the myth: the myth of Orpheus, the myth of a lonely artist and the myth of a new cosmos. The author also discusses other problems: the status of his paintings in contemporary criticism, the reverse of artistic biography and languages of modernism from the 1950s
“Armenian Night Squints Its Eyes.” Around the Metaphor of the Iconic Fate in Jerzy Ficowski’s Poetry
No full text“Armenian Night Squints its Eyes”. Around the Metaphor of the Iconic Fate in Jerzy Ficowski’s Poetry
In his work, Jerzy Ficowski – the author of Odczytanie popiołów, Ptak poza ptakiem, Demony cudzego strachu and Czekanie na sen psa – concentrates on the borderland in its broad sprectrum. Tryptyk bizantyjski – the subject of this study – is a piece in which the author emphasises the need for memory and emphatic writing, which is especially visible in its third part, devoted to Armenian memory. Being a reminder of the tragic history of the forgotten nation, the poem is simultaneously a cry for literary presence and audibility. This cultural, historical and literary borderland, significant in Ficowski’s poetry, appears also in the gesture of rewriting an icon and in the creation of oxymoronic poetry.
Key words: Jerzy Ficowski, post‑war poetry, Armenians, memory, memory studies, trauma, postmemory, ico
„Mruży oczy noc ormiańska” – wokół metafory ikonicznego losu w poezji Jerzego Ficowskiego
Full text link“Armenian Night Squints its Eyes”. Around the Metaphor of the Iconic Fate in Jerzy Ficowski’s Poetry
In his work, Jerzy Ficowski – the author of Odczytanie popiołów, Ptak poza ptakiem, Demony cudzego strachu and Czekanie na sen psa – concentrates on the borderland in its broad sprectrum. Tryptyk bizantyjski – the subject of this study – is a piece in which the author emphasises the need for memory and emphatic writing, which is especially visible in its third part, devoted to Armenian memory. Being a reminder of the tragic history of the forgotten nation, the poem is simultaneously a cry for literary presence and audibility. This cultural, historical and literary borderland, significant in Ficowski’s poetry, appears also in the gesture of rewriting an icon and in the creation of oxymoronic poetry.
Key words: Jerzy Ficowski, post‑war poetry, Armenians, memory, memory studies, trauma, postmemory, ico
„Historia nie jest osobna”. Hannah Arendt i jej biografia/e
Full text linkThis article – as mentioned in the introduction – details three ways to understand the category of biography in Hannah Arendt’s writings. In the first, I mention the very act of writing a biography by the author – a story of Rahel Varnhagen or Walter Benjamin, also referring to the biographical and epistolographic essays that Arendt pointed out. In the second, I’m interested in the aspect of refugee biography proposed by Arendt in “We Refugees” which she used to redefine the term “refugee”. In the third aspect, I present Arendt as the protagonist of a biography in Julia Kristeva’s writings.This article – as mentioned in the introduction – details three ways to understand the category of biography in Hannah Arendt’s writings. In the first, I mention the very act of writing a biography by the author – a story of Rahel Varnhagen or Walter Benjamin, also referring to the biographical and epistolographic essays that Arendt pointed out. In the second, I’m interested in the aspect of refugee biography proposed by Arendt in “We Refugees” which she used to redefine the term “refugee”. In the third aspect, I present Arendt as the protagonist of a biography in Julia Kristeva’s writings
Miejsca pamięci. O poznańskiej synagodze przy Wronieckiej. Joanna Roszak: Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej. Lublin–Warszawa, Instytut Slawistyki PAN – Ośrodek „Brama Grodzka – Teatr NN”, 2015, ss. 140
Full text linkMemory Places. On the Synagogue in Poznań in Wroniecka Street. Joanna Roszak: Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej. Lublin–Warszawa, Instytut Slawistyki PAN – Ośrodek „Brama Grodzka – Teatr NN”, 2015, ss. 140.Joanna Roszak’s book, Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej, is a collection of commentaries and the author’s conversations with the witnesses of the bygone Jewish past, whose central place was the old synagogue in Poznań. As this review shows, the main axes of the book are memory and place, but also compassion, which are mentioned among others by Zygmunt Bauman, Baruch Bergman, Wojciech Wilczyk and Tomasz Pietrasiewicz. Through these conversations, the author points to various formulations of the memory place. She notes that the synagogue is perceived multidimensionally: firstly it is a historical site, secondly it is a space of anthropological experience, and finally it is still a place of a singular, individual sensation
Memory Places. On the Synagogue in Poznań in Wroniecka Street. Joanna Roszak: <i>Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej</i>. Lublin–Warszawa, Instytut Slawistyki PAN – Ośrodek “Brama Grodzka – Teatr NN,” 2015, 140 pages
No full textMemory Places. On the Synagogue in Poznań in Wroniecka Street. Joanna Roszak: Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej. Lublin–Warszawa, Instytut Slawistyki PAN – Ośrodek „Brama Grodzka – Teatr NN”, 2015, ss. 140.Joanna Roszak’s book, Słyszysz? Synagoga. Wychodząc spod poznańskiej synagogi przy Wronieckiej, is a collection of commentaries and the author’s conversations with the witnesses of the bygone Jewish past, whose central place was the old synagogue in Poznań. As this review shows, the main axes of the book are memory and place, but also compassion, which are mentioned among others by Zygmunt Bauman, Baruch Bergman, Wojciech Wilczyk and Tomasz Pietrasiewicz. Through these conversations, the author points to various formulations of the memory place. She notes that the synagogue is perceived multidimensionally: firstly it is a historical site, secondly it is a space of anthropological experience, and finally it is still a place of a singular, individual sensation
Zasypia ryba. Autobiograficzne i zwierzęce niepokojenia w malarstwie Andrzeja Wróblewskiego
Full text linkA Fish Falls Asleep. Autobiographical and Animal Disquietudes in Andrzej Wróblewski’s Painting
This article is an attempt to interpret the painting of Andrzej Wróblewski – the author of Rozstrzelania – as part of the interdisciplinary research. This is an interpretation of his painting – especially of his animal paintings – in the context of the poems of Tadeusz Różewicz, Jerzy Ficowski, and Tadeusz Śliwiak. In their poems, these authors have explored the problem of memory, the mutilation of humans and animals, but also the protection of nature and its primordial character. This combination of arts and literature can create a new methodology; it can contribute to new research on postwar painting in the context of animal studies and memory studies.
Key words: Polish poetry, postwar painting, realism, symbolism, animal studies, Andrzej Wróblewsk
A Fish Falls Asleep. Autobiographical and Animal Disquietudes in Andrzej Wróblewski’s Painting
No full textA Fish Falls Asleep. Autobiographical and Animal Disquietudes in Andrzej Wróblewski’s Painting
This article is an attempt to interpret the painting of Andrzej Wróblewski – the author of Rozstrzelania – as part of the interdisciplinary research. This is an interpretation of his painting – especially of his animal paintings – in the context of the poems of Tadeusz Różewicz, Jerzy Ficowski, and Tadeusz Śliwiak. In their poems, these authors have explored the problem of memory, the mutilation of humans and animals, but also the protection of nature and its primordial character. This combination of arts and literature can create a new methodology; it can contribute to new research on postwar painting in the context of animal studies and memory studies.
Key words: Polish poetry, postwar painting, realism, symbolism, animal studies, Andrzej Wróblewsk
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
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