O susretima književnosti i filma
Review of: Film i književnost: Zbornik radova, Marija Grujić i Kristijan Olah (ur.), Institut za književnost i umetnost, Beograd, 2020.
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Review of: Film i književnost: Zbornik radova, Marija Grujić i Kristijan Olah (ur.), Institut za književnost i umetnost, Beograd, 2020.
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In what sense can aesthetic experience be considered an opportunity for the development of personal identity, cognitive abilities, and emotions? Theatre proves to be an important field of investigation to approach this question. During a theatrical experience, the connection between fiction and reality can take the form of active cooperation between author, actor, and spectator. A better understanding of this point can be drawn by pointing out three kinds of spectator: we can distinguish a critical spectator, an emotional spectator, and an instinctual spectator, who respectively represent: the imaginative and hermeneutic attitude; empathy and fictional emotions; the unconscious satisfaction of drives. So far, a parallel can be established between literature and theatre. However, these two aesthetic experiences are profoundly different: the type of immersion provided by the theatrical experience differs from reading, because the presence of the characters is physical and actual. The pragmatic theatrical framework is the same as that which underlies childhood games. This means that the public too is to some extent called to play, i.e. to act. To appreciate the implications of this thesis, a preliminary analysis of the performance Reality (Deflorian and Tagliarini 2012) is offered, examining how its experience contributes to the development of the spectating subject.
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Milan Sunko (Zidani Most, 5 December 1860 – Zagreb, 9 March 1891) was a heraldic artist, numismatist, and collector, who studied and started his carrer in Vienna working with the most renowned heraldists of the “classical” Austrian heraldic period. He moved to Zagreb where he made number of well received paintings and graphics and was supported by the intelectual elite of the fastly developing city. His brief spectacular carrier was abruptly ended by laryngeal tuberculosis, and he died in his 31st year. His works are preserved in several museums and galleries in Zagreb, and his heraldic lithographs and ex libris bookplates are remembered in specialized bibliography. However, the Croatian heraldic historiography has forgotten all about him and this paper attempts to remedy this. After the establishment of the Brotherhood of Croatian Dragon Society – one of its founders being Emilij Laszowski, notable Croatian heraldist; it took upon a project to preserve Sunko’s grave, exhuming his remains and providing a modest but dignified grave for him at the Zagreb cemetary in 1910. To achieve that, the Draconian Society raised funds in an international action, activating his foreign friends and fans, documenting the project in respectable heraldic periodicals.
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“My name is a million” - an onimic reading of Olga Tokarczuk's prose. This article examines proper nouns in the works of Olga Tokarczuk. I analyse critical assumptions of literary onomastics and try to understand to what extent the onimic layer of the works of the Polish Nobel laureate can be considered as a system. The cited examples of literary proper names appearing in selected Tokarczuk novels allow us to understand the individual features of naming (especially the use of capital letters and the creation of individual descriptors) as well as the way this is rooted in the broader context of literature, culture, science and history, which also influence the use of proper names in the author’s works. The theories put forward by Italian literary historian Franco Moretti provide a complementary analytical framework.
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The point is to get it going, to make it alluring. To make it work. To keep it alive. The Philomaths’ Improvising. The article discusses improvisational performances of the Philomaths in the context of the advent of a so-called modernity which correlated with a rapid change in people’s lifestyles. My starting point in examining the most characteristic phenomena of the literary life in Vilnius is the newly emerged economic environment: the enormous popularity of improvised poems (performed or written impromptu) and the development of the printed press. The analysis of the Philomaths’ performances, letters and poems focuses on various aspects of improvising, and not only on poetry presentations but also on a spontaneous way of living and the process of literary production. I argue that the improvisational activity of the Philomaths can be considered as an act of experimenting with and adapting various (traditional as well as innovative) literary patterns, and therefore as a poetic laboratory of the new romantic era.
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Review of: Luigi Marinelli, Noster hic est Dantes. Su Dante e il dantismo in Polonia, Lithos Editrice, Roma 2022, pp. 206.
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Looking from the perspective of Anthropocene, there is an urgency of environmental concerns which is growing day by day. While there is an emphasis on environmental education made by NGOs, it is important to analyze the role of the performing arts, especially, theatre, to raise awareness of environmental issues among society. The article focuses on the development of ecotheatre on a global perspective and also highlights local examples of ecodramaturgy in the performing arts in Latvia. This article lets to conclude that in the last years (2019–2022) there is a growing trend in Latvia reflecting on environmental topics through medium of theatrical performance and an essential raise in original ecodramaturgy. Also, there is a development of various forms in performing arts related to environmental issues. Ecotheatre becomes the form of environmental activism or, so called artivism, of theatre practitioners in Latvia.
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In the West, theater has always been strongly associated with city culture and urbanization processes. By combining the methods and insights of the arts and psychology, the article aims to explore the impact of the city and non-city environments on the work of theater artists, to find out what happens when a creator withdraws from a usual city environment. Qualitative approach – case study analysis – is applied in this research by interviewing two theater artists. The research identified four meta-themes: move back and forth, together and separately, change of perspective, create a new universe. Analysis of the aforementioned themes revealed that withdrawal from the city, as from the usual creative space, is useful and productive for the theater artists, but becomes meaningful only when the latter come back to the city. The metaphor of the spring is suitable for describing this process: creativity is most stimulated by dynamics of withdrawals and returns, which determines the change of perspectives and, at the same time, creative states, rather than withdrawal from the city itself. Withdrawal provides impulses for new universes to emerge: both in the aesthetic plane of creation and in the psychological plane.
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The article examines the works of Arūnas Vaitkūnas, in which the contours of the ontology of painting emerge. In Vaitkūnas' art works, two ines are interconnected - being in painting and being of painting. Deepening the tradition of expressionism, the painter delves into the reflection of human existence and the reality proper to paintings. The sense of being and the awareness of its disappearance, a direct experience of specific place and time have become the main subjects of his paintings. He considers the ontological characteristics of painting and reflects on how painting opens being in the surface of the canvas, in the structure itself of the picture through the means of pictorial expression. Besides in his paintings, found objects and installations he questions of the identity of painting to gain a deeper understanding of the peculiarity of the media, the relationship with reality, as well as the limits, liminality and the possibilities of its expansion. The article hermeneutically interprets Vaitkūnas' works, which connect with philosophical insights of Jacques Derrida, Arvydas Šliogeris, Justinas Mikutis, and the paintings of Francis Bacon and Gerhard Richter, revealing attempts to ontologize painting and the searches for its extensiveness, leading to the primeval geoglyphs.
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In this article the author analyzes the search for Being in art according to Arvydas Šliogeris. Although Šliogeris selected the picture of The Great Pine tree painted by Paul Cézanne for his art philosophy - we see that in the book The Thing and Art - the philosopher himself is very Lithuanian, his thinking and his theoretical worldview is permeated with Lithuanian spirit. It is especially clear when he interprets Čiurlionis‘ paintings titled Sonata of the Grass Snake, the vision of the Grass Snake. A Grass Snake, who is sacred in the pagan tradition in Southern part of Lithuania called Dzūkija, is interconnected with Šliogeris‘ philotopia in Dzūkija region. From the cultural point of view, it is far away from French region of Provence, which was the inspiration for Cézanne. The article also analyzes why Šliogeris did not choose the sea theme in painting. After all, the openings of Being could be found in the painting of dramatically stormy sea with a sail ship tipping over the waves. By refusing to search for Being in sea paintings, and instead opting for the region of Southern Lithuania, he evidently makes a subjective selection, looking at the world through the prism of the self “I“. It is, owever, impossible otherwise. After all, philotopia as such, inevitably presuposes subjectivity.
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The object of research is a collection of short stories by Helena Romer-Ochenkowska (1875–1947) titled Tutejsi (Warsaw 1931). It is the third series of short stories by a famous Vilnius writer, poet and journalist, which is devoted to regional issues. The protagonists of the stories are native inhabitants of the Lithuanian-Belarusian border, people of different nationalities (Poles, Belarusians, Lithuanians, Jews) and of various origins (wealthy and poor nobility, peasants, officials). The stories takes place during the years of World War I and in the interwar period, when some of the Lithuanian-Belarusian territories became part of the Second Polish Republic. The indigenous people of the borderland were shown in opposition to “strangers” – German soldiers and former Russian officials and clergy. The most important determinant of regionalism, as exemplified by the collection of Tutejsi stories, is linguistic distinctiveness, visible in the author’s narrative and in the characters’ individualized language. There are regionalisms and dialectisms in the language of the heroes typical of the North-Borderlands Polish language. Based on the methodology of cognitive linguistics, the authors of the article also distinguished several other concepts that characterize regionalism, which are: local territory / patriotism; landscape; customs / traditions; games / songs; costumes. The results of the research confirm the correctness of the scholars’ opinion that people of the borderland tend to position themselves as locals and maintain a sense of their own separateness.
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Divan poets, who created works in Sufi style, discussed the conflict of rind-zahid both in some of their independent works and in some of their poems that they wrote in verse forms such as odes and ghazels. The poets compared the type of zahid who put the mind to the fore and takes ostentatiousness as the axis, and the type of rind, who are considered as the connoisseur of the heart that isolates himself from the records of the transient world, thanks to his mystical bond stemming from malāmah (blame). While discussing the rind-zahid conflict, the Divan poets, who see themselves as rind, described the zahid type as vulgar and satirized it. In this article, firstly, a general information about the type of satire will be given and the appearance of the rindzahid conflict in Divan poetry will be discussed. Two satirical poems with "monlâ" redif, which are thought to be written by Tezvîrî, will be evaluated in terms of their features of form and content. It will be revealed in which ways Tezvîrî satirized the type of mullah and what kind of satirical styles he adopted. The article will be completed with the transcription of the poems into Latin letters.
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W artykule zostają przybliżone argumenty nieomawianej dotychczas szerzej w polskich badaniach debaty metodologicznej toczonej w ramach współczesnych adaptation studies. Autor opisuje trzy tendencje charakterystyczne dla najnowszych teorii adaptacji: metateoretyczne próby przeramowania pojęcia adaptacji, krytykę podejścia typu medium specificity oraz otwieranie się na konteksty kulturowe, społeczne i ekonomiczne. Zdaniem autora jednym z największych wyzwań stojących przed studiami nad adaptacją jest przełamanie obowiązującego w obrębie dyscypliny podziału na badania tekstualne i kontekstualne (na który zwracała uwagę Kamilla Elliott). Kategorią, która może stanowić pomost między ujęciami formalistycznymi a kulturoznawczymi, jest pojęcie dyskursu, które nie było dotąd przedmiotem poważnej debaty w ramach dyscypliny. Posługując się przykładami polskich adaptacji z ostatnich lat, autor wskazuje na możliwe sposoby zastosowania tej kategorii w badaniach porównawczych.
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Autorka wskazuje różne sposoby rozumienia pojęcia „nowa kinofilia” w wybranych francuskich tekstach teoretycznych i krytycznych. Perspektywa ta wydaje się szczególnie interesująca, gdyż termin „kinofilia” pojawił się na gruncie francuskim, a nawet paryskim, w latach 50. XX w. (okres polityki autorskiej), w dzisiejszych czasach natomiast jest używany szeroko także poza granicami Francji, bardzo często z dookreśleniem „nowa”. Związane jest to z wyłonieniem się innych form kinofilii i przeciwstawieniem ich „staremu” modelowi, choć owa nowość nie zawsze jest wartościowana dodatnio. Szczególnie wyrazistym przykładem postawy krytycznej był artykuł Louisa Skoreckiego Przeciw nowej kinofilii publikowany już w roku 1978. Autorka zwraca uwagę na związki nowej kinofilii z dyspozytywem i pojawieniem się nowych form uczestnictwa w życiu filmowym. Druga część artykułu dotyczy koncepcji Arnauda Guigue’a, który proponuje zastąpienie problematycznego terminu określeniem „kinofilia szerokokątna”.
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This study considers Matthew Arnold’s “The Scholar Gipsy” within the liminal-limioid theoretical grounds touched upon by Victor Turner and Friedrich Max Müller. The body of discussion focuses on the metapoetic aspect of the art of poetry in relation to liminal-liminoid projections featured within Arnold’s poem. The main argument is that liminal projections within the poem transform into a liminoid and metapoetic space where the essential core of the art of poetry itself is revealed as the product of a liminoid process. The figure of the scholar-gipsy who left Oxford hundreds of years ago and joined a gipsy tribe in pursuit of greater knowledge is animated by means of the speaker’s recalling the now-gipsy-scholar’s story in the poem. Such a summons becomes an eternal symbol of the kind of metapoetic relationship between the speaker and his liminoidly inspiring source. Metapoetic and liminoid connections are further layered with the inescepable presence of a timeless reader bound neither by space nor by time. Thus, boundaries between source-material, speaker, poet, the art of poetry, inspiration and the reader are stretched, where Arnold’s whole metapoetic-liminoid process binds all humanity together by means of the same poetic and re-creative liminoid play.
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The act of laughing occurs for different reasons and has different meanings. As it has different meanings, the reactions to the act of laughing also vary. Laughter theory is important to understand the logic of laughing. Laughing can turn into a method of relieving stress, or it can turn into an act of rebellion, which must be prevented in order to suppress societies and as a resultant opposition. In this article, the theory of laughter and the social and individual causality of laughter will be examined. In male-dominated societies, women’s laughter is tried to be put under social pressure as a problem. Roxana Halls, who paints about women and the act of laughing, is one of the important artists in this context. Roxana Halls seeks ways to break the transformation of social pressures internalized by women into a self-control mechanism and uses Helene Cixous’s concept of Feminine writing in the conceptual infrastructure of her works. The artist, who has painted the act of laughing in her paintings, which are mostly female portraits and female figures, visualizes the female revolt. The transformation of laughter into an act of rebellion in the context of post-structuralist feminist philosophy in connection with the fact that laughter is an action that needs to be controlled in oppressive and male-dominated societies, the liberation of women's body and its use as a method of self-expression with a critical style in Roxana Halls’artwork will be examined in the context of graphic design.
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Body, which is a concrete appearance of artistic existence, became a target of the artistic creation in the 20th century, predominantly symbolized the representation of identity within the art practices of female artists and as a result of the action of the artist turned into a performance. In the post-modern age where art experienced a metamorphosis, the new art has now been based on thought, while the artist has begun to use his/her body as an object of art so as to pass the thought onto the receiver and to make enquiries on political, psychological, economic, sexual and social identity. Within this context, the leading names such as Shigeko Kubota, Marina Abramoviç Carolee Schneemann, Ana Mendieta, Gina Pane, Hannah Wilke, Chris Burden, Yoko Ono, Yves Klein, Orlan, Stelarc, Claude Cahun, Yasumasa Morimura, Barbara Kruger and David Nebreda have transformed their artistic discourses into a performance within the framework of subject-society. According to Pierre Bourdieu’s conceptual development habitus, body which is molded together with the society in which the individual resides cannot be dissociated from the society. Therefore, the individual forms the societal habitus along with the objective existence assimilated within his/her body. This research in this respect aims to analyze within the scope of Bordieu’s habitus concept the indication of the process aimed at the art and the artist, whose subject has been the human body throughout the history. The research sample has been chosen in accordance with the purposive sampling from among the avant-garde representatives of body and performance art in the world and evaluated in line with the bodily actions of these artists, society-body relationship and the manifesting indications.
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Because it is in constant change due to its interaction with the era it is in, art continues its creation as a reflection of social formations. The refugee crisis, which is one of the important problems of today, has become a global problem affecting all societies in many areas such as social, cultural, political, and economic. Therefore, the impact of the refugee crisis on current art creation has been inevitable. The current art, which is intertwined with every field of our daily life, creates opportunities for critical productions by addressing the problems of the age in a critical line. In this context, the effects of the refugee crisis on art have been examined through the works of artists from different geographies who have studied migration and refugee issues in the past and present.
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The starting point of this article is to discuss the orientation to a ‘new’ form for Westerners, which held the heritage of a different geography and culture – ‘miniature’, in the contemporary art scene focused on West and based upon Western values. 'Miniature' is a branch of book arts, one of the important branches of 'Islamic art', which is a problematic concept that Western art historiography classifies with its orientalist and reductive attitude. Today, 'miniature' is accepted as a term used and even featured in contemporary practices. It cannot be said that the tradition of miniature art and its production continue uninterruptedly in most of the Islamic countries. However, even though they were separated as different states since 1971, the strong cultural ties and traditional art production of South Asian countries have continued. In 1990s, Pakistani artist Shahzia Sikander, who completed traditional miniature education and used the language of contemporary art in her works, reunited the Western/'contemporary' with the traditional and Islamic 'miniature'. Within the scope of this paper, the meeting of 'contemporary' and 'miniature' was examined through Sikander's first miniature work and her selected subsequent artworks.
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The paper seeks to present topics and themes that seem inevitable to be reviewed when looking for the answer to the question whether the motion picture medium can become a suitable means for the church to communicate and convey the message entrusted to it. The essay first tries to describe what characterises the religiosity of the people of our time. This brings us to a phenomenon which is better described by the term ‘subjective turn’ rather than postmodern. The functional definition of religion can be used to describe the religious functions of film. Starting from the transcendent function of religion a theological approach to film also becomes necessary. In linking theology and film, our inquiry cannot be confined exclusively to academic or church circles, but must include the wider public, social spheres as well. A theological approach to culture helps us to place the topic in a more general, broader framework. Karl Barth’s interpretation of culture can be a warning that the self-revealing God can also provide, outside of Scripture and the church, true words and worldly parables that can become unconscious, involuntary witnesses of the One True Word. Since film as a mediating medium provides the possibility of transcultural communication and contextualization, it allows us to view the relationship between theology and film from the perspective of contextual theological approaches to culture.
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