Czasopismo „Załącznik Kulturoznawczy” (zalacznik.uksw.edu.pl) jest rocznikiem naukowym wydawanym w Instytucie Nauk o Kulturze i Religii na Wydziale Nauk Humanistycznych Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie. Publikuje artykuły o szeroko pojętym profilu kulturoznawczym (socjologia, antropologia kulturowa, etnografia, medioznawstwo, literaturoznawstwo, filmoznawstwo itd.), umożliwiając interdyscyplinarną wymianę wyników badań naukowych oraz zapewniając platformę dialogu i polemiki kulturoznawczej. W czasopiśmie zamieszczane są różnojęzyczne teksty samodzielnych i młodszych pracowników naukowych, co stanowi podstawę inkluzywnego charakteru pisma, promującego polifonię spojrzeń badawczych (do tej pory ukazały się drukiem teksty w języku polskim, angielskim, włoskim oraz bułgarskim). Pismo publikuje artykuły naukowe o szerokim przekroju kulturoznawczym, co – poza wszystkim innym – wyróżnia je na tle periodyków o podobnym profilu naukowym. Wszystkie teksty poddawane są podwójnie ślepym recenzjom (double blind peer review process). Każdy numer posiada jeden lub dwa działy tematyczne, za których zawartość merytoryczną współodpowiadają specjalnie powołani redaktorzy, z różnych jednostek naukowych, będący ekspertami w danej dziedzinie. Umożliwia to skondensowaną prezentację najnowszych prac i jest ważnym elementem integracji środowiska naukowego.
Cardinal Stefan Wyszynski University in Warsaw
Podmioty nie-ludzkie w internecie. Przypadek rybika
The article attempts to analyse the discourses around non-human subjects along with their ethical, aesthetic and political connotations. The case of silverfish is an example of how the Internet, as a space both shaping and reflecting cultural tendencies, transformations and conflicts, reveals social modalities of perceiving animals as subjects and/or objects. It demonstrates both extensively anthropocentric models of praxis as well as anti-anthropocentric departures from them.
Prawa autorskie (c) 2024 Jankowska Małgorzata https://creativecommons.org/licenses/by-nc-nd/4.0
„Kino Wolność wyświetla film produkcji sowieckiej…” – funkcje dolnośląskich afiszy filmowych z lat 1946-1948 w świetle materiałów zachowanych w BUWr
The article places the film posters dating from 1946–1948 in the center of attention. Posters belong to ephemeral prints performing specific utilitarian, informational, advertising functions. Original postwar film posters preserved in the Wrocław University Library make it possible to analyze other functions performed by these prints during the period of settlement in the so-called Recovered Territories. The text present the definition of the poster and discusses its features, structure and functions performed by Lower Silesian posters during the analyzed period.
Prawa autorskie (c) 2024 Aneta Firlej-Buzon https://creativecommons.org/licenses/by-nc-nd/4.0
„Człowiek z żelaza” Andrzeja Pągowskiego. Pozafilmowe życie plakatu
“A film about Solidarity”, as Man of Iron was briefly described, gained fame in Poland and international recognition. The film's promoters had to face the daunting task of saying something new about the film that had been well-known even before its premiere. Here was an acclaimed director taking on a subject that was famous all over the world: the birth of an official opposition movement in a country ruled by a communist dictatorship. The most suitable metaphor was created by Andrzej Pągowski, a young graphic designer experienced in working with film. He opted for religious associations which resonated particularly strongly in a society which, thanks to the Solidarity thaw, had become increasingly bolder in introducing Christian symbolism to the public space. Over the course of forty years, the poster has been subjected to numerous reinterpretations, some of which came from the author of the original.
Prawa autorskie (c) 2024 Arkadiusz Bilecki https://creativecommons.org/licenses/by-nc-nd/4.0
Plakaty filmowe Mieczysława Górowskiego w kontekście twórczości artysty
The content of this article is based on the research carried out for the resulting dissertation on the work of Mieczysław Górowski (doctoral thesis defended at the Institute of Art Sciences, Faculty of Humanities, John Paul II Catholic University of Lublin). The article refers to a small section of the artist’s oeuvre, namely film posters. It should be emphasized that the following article is the first study of Mieczysław Górowski’s film posters. While preparing to write both my doctoral thesis and the present article, I have carefully read widely available academic publications, which are few in number and selectively related mainly to the artist's poster art, as well as articles published in professional magazines on art and design or in the daily press and exhibition catalogues. What gave me the opportunity for a new and fresh look at the artist's work, was the unlimited access to the artist's family archive, and the materials found therein were used for the first time. The article presents a brief description of Mieczysław Górowski as an artist, his technique and the area of his work, which is the poster, including film poster. The text is also supplemented by the statements concerning this art by the author himself, and the people associated with him both professionally and privately.
Prawa autorskie (c) 2024 Katarzyna Górowska https://creativecommons.org/licenses/by-nc-nd/4.0
Nieoczywiste…? Wybrane plakaty Andrzeja Pągowskiego do polskich filmów fabularnych o artyście i sztuce
The subject of the text are less known posters by Andrzej Pągowski (born 1953) for Polish films about artists and art. The aim of the analysis is to present the strategies of attracting interest used by poster artists using specific examples of Polish films about artists and art. An excellent way to effectively influence the film viewers is the use, in this type of messages, of references (also à rebours) to the Aristotelian triad: ethos, pathos and logos. In the case of film posters, the medium of these practices are image and text. In the visual layer, attracting attention comes down primarily to the choice of people, things and spaces that are presented on the poster, the use of specific colors, the play with chiaroscuro, close-ups or non-obvious film frames. Research material: posters for selected films by Andrzej Pągowski: Baritone (1984), dir. J. Zaorski, Scribbler (1985), dir. W.J. Has, Two Moons (1993), dir. A. Barański. Methodology: phenomenology, semiotics.
Prawa autorskie (c) 2024 Iwona Grodź https://creativecommons.org/licenses/by-nc-nd/4.0
„Spowiedź żarliwego kinomana”, czyli inspiracje, budowa i styl plakatów filmowych Andrzeja Klimowskiego
In 1972, Andrzej Klimowski quit his painting and sculpture studies at St. Martin School of Art in London and moved to Warsaw to study at Henryk Tomaszewski’s poster studio at the Academy of Fine Arts in Warsaw. Franz Kafka, Albert Camus, Jean Paula Sartre, Jean Luc Godard, Andrzej Munk are only some of his literary and movie fascinations. His works are soaked with the style of the silent cinema, film noir or paintings of René Magritte. Being under the strong influence of i. a. Jan Lenica and Roman Cieślewicz, he designs posters brimming with references to the history of art. Over time, he has created his own individual, signature style and Taxi Driver, Dead Man or The Godfather are only a part of his impressive portfolio. Klimowski explains that it is better for the final effect, if the content of works is more expanded and full of iconographic elements. The article presents and analyzes the works by Andrzej Klimowski, taking into account his inspiration, composition structure and execution of the design of movie posters.
Prawa autorskie (c) 2024 Justyna Chojnacka https://creativecommons.org/licenses/by-nc-nd/4.0
Czarno-biały plakat filmowy w okresie PRL-u – estetyka i ekspresja. Autonomizacja wypowiedzi artystycznej a funkcja plakatu filmowego
This article refers to a specific group among Polish film posters created in the 1950s–70s. They are based on black-andwhite colors advertising films of various genres, representing European, Asian and American cinema. The use of the most radical contrast between black and white, occasionally broken up with a counterpoint of red, is characteristic of the geometric-structural and typographic trend, although the creators of colorful painting posters also created expressive black and white film posters. Given the attachment of several artists to black-and-white solutions, it is reasonable to ask whether that peculiar self-restraint in color was an exercise in discipline or, on the contrary, a test of creativity, or perhaps it was but a result of mundane printing problems and was dictated by concerns over print quality. The analysis of the works (from a technical and aesthetic point of view, taking into account the color theory, Gestalt theory, the nōtan concept) is accompanied by a reflection on the freedom and degree of autonomy of authorial expression in the cultural poster in relation to its primary functions. The article thus constitutes an attempt to answer the question whether every film poster can be treated as an intersemiotic message or, following Jan Lenica’s train of thought: “A poster is indeed, first and foremost, an aesthetic message” and its creator prefers the artistic concept (in this case based on black-andwhite) over the possibility to refer to the movie plot itself.
Prawa autorskie (c) 2024 Katarzyna Kulpińska https://creativecommons.org/licenses/by-nc-nd/4.0
Between the Film, the Poster, and the Viewer. A Case Study Based on Selected Posters by Mieczysław Wasilewski
The creators of posters and films represent different artistic sensibilities, which stem from, among other things, their work in different media, resulting in contrasting viewer expectations of these cultural artefacts. A film introduces sequences of images and sounds in a specific time frame, and is therefore watched over a long period of time, during the tens of minutes allotted for its viewing. A poster, on the other hand, presents images and words in their graphic synthesis on a plane. It sends a concise message, because it is perceived “in passing” while its viewer is driving a car, waiting for a bus or buying a ticket. My research problem is related precisely to the communication method of this multi-semiotic, sensual, analytical duration of the film in the pictorial and verbal, conceptual, simplified poster “moment”. I decided to analyze this issue in the context of Mieczyslaw Wasilewski's work.
Prawa autorskie (c) 2024 Agnieszka Smaga https://creativecommons.org/licenses/by-nc-nd/4.0
Andrzej Pągowski jako autor plakatów filmowych
Andrzej Pągowski claims that he does not like to repeat himself and each poster he creates is different – apart from repetitive workshop elements such as central composition or lettering at the top. Meanwhile, if we compare Pągowski’s posters side by side, we will notice their thematic and problematic repetition. This is not easy to achieve in poster art for two reasons: the thematic and stylistic differences of the illustrated films and the practical function of the poster. In the Polish People's Republic, the latter was not that important. Pągowski himself took care of the former, preferring strong representational elements (aggressive in reception, like in Eisenstein's work) and reaching for recurring motifs that create his own specific anthropology. Most often, it employs the motif of a face or an animal muzzle. Often, what is human and what is animal becomes intertwined with each other, because the foundations of Pągowski’s anthropology lie in biologism, naturalism and Freudianism. At the same time, Pągowski places the objects on the posters in an aesthetic key of surrealism, grotesque and macabre. If the poster is treated as an intersemiotic translation (in media, of course, ontologically quite distant from each other), then the three aspects of the translation can be distinguished: plot, form (genre, style) and meanings. Thus, it would be difficult, first of all, to guess the theme or plot of the film from many of Pągowski’s posters. Secondly, many posters do not provide any suggestion whatsoever as to the genre and style of the film, or they hint at it incorrectly. Thirdly, the meaning of the poster is either unclear or distant from the meanings of the screen original and exposes the above-mentioned anthropology of the creator. It can be said that Pągowski is an “authoritarian author”.
Prawa autorskie (c) 2024 Krzysztof Kornacki https://creativecommons.org/licenses/by-nc-nd/4.0
Wczesna dramaturgia Jarosława Iwaszkiewicza na współczesnej scenie. „Kwidama” potyczki teatralne
The aim of this sketch is to show the stage potential of Iwaszkiewicz's text and to juxtapose it with the concept of Andrzej Dziuk, the creator of the stage realisation of the text. The play, entitled A Game for Everyone, was staged in 1984 at the Stary Theatre in Kraków. The performance utilised and creatively expanded elements characteristic of theatre: patterns, folk theatre characters, role-play awareness, text-performance. According to the author, Dziuk has aptly followed the tradition and tendency of the drama, and has used its theatrical potential. He has exposed the very aspects of theatricality, of play present in Iwaszkiewicz, taken from the theories of the author's contemporaries and using the experience of folk theatre, nativity plays and mysteries.
Prawa autorskie (c) 2024 Jadwiga Gracla https://creativecommons.org/licenses/by-nc-nd/4.0
Szlafrok i skarpetki, czyli intymność na scenie. O gdańskim spektaklu „Życie intymne Jarosława” (2020) w reżyserii Kuby Kowalskiego
In the article I look at the way of using literary sources by Jarosław Iwaszkiewicz (epistolary and diary entries) and Karol Szymanowski (fragments of the novel Efebos) in the performance of the Wybrzeże Theater in Gdańsk. The basis for the staging was the text Jarosław’s Intimate Life, co-authored by Magda Kupryjanowicz and Michał Kurkowski, published in 2020 in “Dialog”. A special source of inspiration for the creators of the script, apart from Efebos, were the diaries of both Anna and Jarosław Iwaszkiewicz, as well as the collection of letters from the author of Brzezina to Jerzy Błeszyński, Everything as you want, published in 2017, edited by Anna Król. I am interested in possible readings of the performance, ranging from the biographical context to the universal and contemporary one, related to manifestation of the right to love, freedom of choice and tolerance. The intimacy on stage and its setting in the form of scenography, light and sound, exposed by the play of actors cast in one or more roles, are part of the director’s vision, focused not only on the complicated relationship of two men (emphasized in the idea of multiplying the character of Jerzy), but in general on man, seeking an escape from loneliness and transience in eroticism. It is an intimacy that combines the sublime with the trivial, the sincerity of despair with theatricality and kitsch, revealing the paradox of death, which reverses the natural order of existence.
Prawa autorskie (c) 2024 Barbara Zwolińska https://creativecommons.org/licenses/by-nc-nd/4.0
Wobec śmierci. Studium postaw ludzkich w sytuacji granicznej („Brzezina” Andrzeja Wajdy według Jarosława Iwaszkiewicza)
Andrzej Wajda’s The Birch Wood was read through the prism of Karl Jaspers’ reflections on death as a borderline experience. The film shows a model case of the experience of death as a “borderline situation” in its two variants: the death of a loved one (in Bolesław’s case – the loss of his wife) and the inevitability of one’s own death (the last stage of Stanisław’s tuberculosis). These are cases of facing the fundamental, existential mystery of death. The dialectic of death – the death of the Other (to which no one, even the close ones, has access) and one’s own death (revealing its “face” to a specific self) translates into variants of human loneliness and different existential situations (sentenced to death and infected with death). This experience is complemented by the situation of little Ola struggling with the trauma of loss. It is an allegorical commentary on the feeling of being trapped in the universe of death. In the interpretation, the emphasis was placed on those factors that differentiate the messages of Iwaszkiewicz’s story and the film.
Prawa autorskie (c) 2024 Iwona Kolasińska-Pasterczyk https://creativecommons.org/licenses/by-nc-nd/4.0
Eros i Tanatos – „Róża” Jarosława Iwaszkiewicza i „Ubranie prawie nowe” w reżyserii Włodzimierza Haupego
The text is devoted to Jarosław Iwaszkiewicz’s story Róża (en. The Rose), with its firm adaptation, Ubrania prawie nowe (en. Almost Brand New Clothes) directed by Włodzimierz Haupe. The analysis, prioritizing the primacy of literary material over its cinematic counterpart, is grounded in intermedial assessments (Chmielecki 2008), literary studies (Przybylski 1970, Giełdoń-Paszek 2014), philosophical perspectives (Leszczyński 2003), and linguistic considerations (Burkot 1970). Furthermore, the historical as well as social and cultural context of the narrative has been delineated (Kuciel-Frydryszak 2018; 2023). The article’s objective is to demonstrate that both the literary and cinematic texts remain remarkably pertinent, encompassing both thematic and existential dimensions.
Prawa autorskie (c) 2024 Katarzyna Majca-Lipa https://creativecommons.org/licenses/by-nc-nd/4.0
Filmowe adaptacje „Straconej nocy” Jarosława Iwaszkiewicza – analiza porównawcza
The aim of this article is a comparative analysis of three film adaptations of Jarosław Iwaszkiewicz’s short story Stracona noc (en. Lost Night) – a fragment of the film Spotkania (en. Meetings) by Stanisław Lenartowicz (1957), Stracona noc by Janusz Majewski (1973) and Nocne ptaki (en. Night Birds) by Andrzej Domalik (1992). Focusing on the perspective of reflection on the ways in which the motifs contained in the original text are equivalent, I aim to demonstrate the significant differentiation between the meanings conveyed by the analyzed films.
Prawa autorskie (c) 2024 Dorota Dąbrowska https://creativecommons.org/licenses/by-nc-nd/4.0
„Sérénité” Aliny Skiby jako adaptacja opowiadań Jarosława Iwaszkiewicza
The article presents an analysis of Alina Skiba’s 1988 film Sérénité as a screen adaptation of Jaroslaw Iwaszkiewicz’s short stories (Dreams and Sérénité) The director’s film version is a kind of poly-adaptation – a media transformation of more than one literary work into a new authorial text. The article reveals Skiba’s adaptation strategy. The director does not so much as create a film that is close to the pretexts, but realizes in it numerous Iwaszkiewicz’s tropes and literary motifs. In doing so, she creates a completely autonomous work reflecting the atmosphere of serene reconciliation with old age present in Iwaszkiewicz’s last volume of short stories.
Prawa autorskie (c) 2024 Katarzyna Gołos-Dąbrowska https://creativecommons.org/licenses/by-nc-nd/4.0
Spojrzenie wstecz. O dwóch wątkach prozy Marka Hłaski
Marek Hłasko’s prose won readers’ acclaim around the Polish October of 1956, and the writer himself became an important figure in literary world. The author considers to what extent Marek Hłasko’s work, the background of which was socialist realism, was considered attractive at that time because of the specific nature of the moment in which it was written, and to what extent it followed conventions that had been present in literature for a long time and dealt with important and well-established themes. Firstly, the author focuses on the similarities between the prose by Marek Hłasko and the prose by Ernest Hemingway, as indicated by critics (manner of narration, type of protagonist), and the legend accompanying both authors. Secondly, he takes The Graveyard (and the discussion it provoked) as a starting point, showing the problem of homelessness of an individual and of the whole society present in Hłasko’s prose. During the “Thaw”, this problem appeared in the prose of Marek Hłasko and in films included in the so-called “black series” of Polish documentaries. The proletarian prose of the interwar period, e.g. by Janina Brzostowska, Henryk Drzewiecki, Jan Dąbrowski, as well as in later works, e.g. by Tadeusz Konwicki or Janusz Głowacki, originates from the same sources that gave birth to Żeromski’s prose – social commitment, sensitivity and lack of acceptance for unjust forms of social life.
Prawa autorskie (c) 2024 Zbigniew Kopeć https://creativecommons.org/licenses/by-nc-nd/4.0
Polski James Dean? Młody gniewny? Fenomen Marka Hłaski i badania transnarodowe
The article contains a proposal to interpret the work and legend of Marek Hłasko in the transnational context of social and cultural changes in Europe and the world of the mid-1950s. The starting point is the commonly perceived and established in colloquial phraseology similarity of the Polish writer's image to the myth of James Dean and of his works to the literature of the British Young Angry Men. This allows us to ask about the relationship between the characters' class affiliation and consciousness and their image of masculinity, the new model of family life presented, and the role of the author’s tragic death in shaping the artistic legend. What constitutes the methodological framework of the analysis, is the concept of transnational research (transnational turn in literary studies), focusing on the analysis of intercultural connections and flows, while the historical, literary and cultural background is provided by the idea of Cold War culture as a transnational community of experience, which makes it possible to perceive and explain the fact of cultural analogies, similarities and convergences on both sides of the Iron Curtain. The conclusion of the article is that, seen in a transnational context, Hłasko's work and biography represent the most characteristic features and themes of Cold War culture: the experience of the Iron Curtain and migration, the bipolarity of the world, the fear of nuclear conflict, the expansion of popular culture.
Prawa autorskie (c) 2024 Jan Galant https://creativecommons.org/licenses/by-nc-nd/4.0
The article analyzes 4 texts – mini-articles – which Marek Hłasko wrote for “Trybuna Ludu” (en. “People’s Tribune”), the most popular post-war Polish daily newspaper, while working as a driver. The texts were presented against the background of similar reports from construction sites of Polish People’s Republic, written by workers from all over the country. In almost every issue of the newspaper, short contributions by amateur authors appeared, which often took the form of denunciations. An attempt was made to classify the field correspondences genologically, trying to establish their place in the history of Polish literature, determine their literary or journalistic quality. Various categories were applied to settle the dispute: individual style, the perspective of the sender and the recipient model, authorial intentions. Finally, an attempt was made to establish whether it is possible to speak of the individual, separate character of the texts created by Hłasko and his responsibility for the written content, and whether those short texts can be treated as his first literary attempts.
Prawa autorskie (c) 2024 Radoslaw Młynarczyk https://creativecommons.org/licenses/by-nc-nd/4.0
Marek Hłasko was the first Polish writer who so consciously and on such a large scale referred in his work to motifs, plot patterns and conventions taken from popular culture, primarily from cinema and cheap pulp fiction. These borrowings, which gained particular importance in his quasi-autobiographical works – Piękni dwudziestoletni (en. Beautiful Twentysomethings) and Listy z Ameryki (en. Letters from America) – could have made him the first Polish postmodernist writer. However, Hłasko lacked distance to the conventions he imitated in his stories and instead of using them to expose the artificiality of his characters' linguistic behaviors, he tried to use them to re-enchant the world or express the truth of his own inner experience, falling into the trap of sentimentalism often masked by ostentatious cynicism.
Prawa autorskie (c) 2024 Tomasz Kunz https://creativecommons.org/licenses/by-nc-nd/4.0
This article is a modified version of the speech delivered during the “Marek Hłasko Today” Conference. Its basis are fragments of the chapter Crossroads in the book Hłasko – Our Non-Contemporary (published by Universitas Cracow 2024). It describes Hłasko’s likely motivations, which in connection with the witch hunt against him in the Communistruled Poland, caused the writer to emigrate in 1958. His emigration was of particular significance because of the idol status Hłasko possessed, which he had attained not only in the eyes of the young generation. That is why, among other things, a long and brutal campaign to discredit him was launched, on top of the total “censorship ban on mentioning his name” and prohibition of publication of any of his works.
Prawa autorskie (c) 2024 Bogdan Rudnicki https://creativecommons.org/licenses/by-nc-nd/4.0
Tekst główny a tekst zależny. O wariacjach tworzenia fandomów i narracji transmedialnych wokół twórczości autorki-fanki
The presence of popular culture fans has become all the more visible in the public space. Fandoms function by to their own rules, producing, to quote John Fiske, in three models: semiotic, textual and enunciative activity. Each of the activities that fit into the model is characterized by a distinct creative strategy – and the similar applies to fan fiction. This article is a case study dedicated to the works of one of the most popular authors of Polish fan fiction, ChoJulieSsie: the writing strategies, the reception practices of the work, and finally, the stimulation of the emergence of an engaged community and a distinct story breaking away from the original text. In the process of analysis, I use the categories of fan productivity and transmedia narrative to trace the way their community was formed. The main aim of this article is to outline the phenomenon of the emergence of a new fandom from an earlier one, being an extension and at the same time (in-)formation of a new transmedia narrative and the consequences of such practices.
Prawa autorskie (c) 2024 Klaudia Żubryk https://creativecommons.org/licenses/by-nc-nd/4.0
Informatorzy, tłumacze i obserwatorzy: zbieranie (meta)danych i wdrażanie badań w cyfrowej ponowoczesności. W stronę metod opartych na współpracy
Contemporary media studies are opening up to methods developed in social sciences, which results from the dynamic development of the mediasphere, the attributes of new digital media and the (network) activities of their users. The latter, within the framework of collaborative media anthropology, actively participate in all phases of the research project, which, on the one hand, makes them inclusive and, on the other hand, imposes new ethical and methodological obligations on the academic researcher. This approach is a specific materialization of Margaret Mead’s idea related to the transfer of knowledge and learning strategies in prefigurative societies, in the 21st century from digital natives, and refers to the collaborative ethnography of Luc Eric Lassiter. New ideas and challenges in applied media studies, collaborative research models and related methodological “transgressions” are also important in changing the philosophy of thinking regarding the obligations of media studies and rules of media literacy 4.0.
Prawa autorskie (c) 2024 Agnieszka Ogonowska https://creativecommons.org/licenses/by-nc-nd/4.0
Po obu stronach muru berlińskiego. Poetyka przekładu wybranych opowiadań Iwaszkiewicza w języku niemieckim
The consideration of this article focuses on the short stories of Jarosław Iwaszkiewicz published in the GDR and FRG in the period from 1946–1989. Its purpose, after pointing out the translations of Iwaszkiewicz’s works into German in both publishing markets, is to emphasize the role of the category of the poetics of translation. The analysis, preceded by a discussion of the author’s reception on both sides of the Berlin Wall, focuses on successive translations of the same text within the translation series. Silhouettes of individual translators are also included, as well as special contexts that may have influenced the final shape of the translation. Excerpts from the short stories Panny z Wilka, Brzezina and Matka Joanna od Aniołów will be used to illustrate the category of translation poetics.
Prawa autorskie (c) 2024 Anna Fimiak-Chwiłkowska https://creativecommons.org/licenses/by-nc-nd/4.0
„…testament zapisany na zdjęciu: oto tak wszystko powinno wyglądać”: fotografia między narracją o katastrofie a katastrofą narracji – na przykładzie opowiadania Savyon Liebrecht „Album mamy”
“To explain the Holocaust, new ways of defining things should be invented, because the criteria we use to evaluate events in normal circumstances cannot be applied to survivors” – writes Savyon Liebrecht, a representative of the second generation, in her introductory note to the selection of short novels Excision. The short story Mother’s Photo Album from the Excision collection points to the entire inventory of strategies how (not) to talk about Holocaust, setting in the center of the events the photo album, understood as a construct shaping the biographies of the characters in the form of idealized, wishful reality, on the periphery of what is most traumatic, painful, impossible to accept. The smooth surface of the photographic print obscures, hides, replaces images retained in the memory of the child born to a couple of survivors creating the world as “it should be” in opposition to the real world. The game of tensions between the biography and its supposedly photographic representation, the photo album, reveals multi-level relations between the imposing silence of the language and the hurly-burly of the photography, between the ethical understatement and the aesthetic excess, between a narrative of the disaster and a narrative disaster.
Prawa autorskie (c) 2024 Magdalena Szczypiorska-Chrzanowska https://creativecommons.org/licenses/by-nc-nd/4.0
Ludowy bohater i ludowy widz. Społeczno-kulturowe źródła filmowych preferencji polskiej widowni
The article presents the results of the study “Poles about Polish films. Opinions of Poles of the Polish Cinema and their Attitudes towards Polish Film Production. Social Research”, which was conducted in 2021 by the National Film Archive – Audiovisual Institute. We focus on the preferences of television viewers, indicating their favorite “countryside” films, especially the trilogy All Friends Here by Sylwester Chęciński. We attempt to interpret such audience choices through the strong roots Polish society has in the countryside, both in terms of origin and cultural habits.
Prawa autorskie (c) 2024 Barbara Giza, Michał Wenzel https://creativecommons.org/licenses/by-nc-nd/4.0
Przepisywanie PRL-u. Strategie przywoływania przeszłości w najnowszym kinie polskim
Interest in the memory of the Polish People’s Republic and the ways it is articulated is constantly increasing. The number of films and series set in the communist era is growing. There is also a significant drive to rewrite the past of the Polish People’s Republic, that is, to shape stories set in those years in accordance with the conventions and thematic preferences significant for the contemporary pop culture genre. The article indicates strategies adopted by Polish filmmakers while portraying Polish People's Republic. The concept of prosthetic memory as a form of post-memory is introduced to analyze the phenomenon.
Prawa autorskie (c) 2024 Kamila Żyto https://creativecommons.org/licenses/by-nc-nd/4.0
Aksjologiczny profil starości w polszczyźnie na podstawie danych korpusowych
The Axiological Profile of Old Age in the Polish Language Based on Corpus Data In this sketch, an attempt is made to reconstruct the axiological profile of old age in the Polish language. The linguistic material is sourced from the National Corpus of Polish, currently the most representative text database for Polish language users. This text serves as an introduction to the reconstruction of the linguistic picture of old age, presenting essential considerations on the evaluation of the concept. The analysis reveals that old age is primarily conceptualized through metaphors (such as OLD AGE IS A HEAVY OBJECT, OLD AGE IS AN ENEMY) and is positioned among anti-values due to lexical-semantic associations and so-called “contagious conjunctions”.
Prawa autorskie (c) 2024 Laura Polkowska https://creativecommons.org/licenses/by-nc-nd/4.0
The Aesthetic-Historical Experience. Regarding Frank Ankersmit’s Concept
This paper discusses Frank Ankersmit’s concept of historical experience and the pivotal role of historical subject’s individual perception in experiencing the past. The author delves into Ankermit’s analysis of Francesco Guardi’s 18thcentury capriccio Arcade with a Lantern, an artwork whose structure, according to the historian, is identical with defining features of what he calls a subjective historical experience. Following the analogy of subjective historical experience and aesthetic experience and Jonathan Clark’s ontological implications of Ankersmit’s theory, the author explores the relationship between the subject and object of the experience. Finally, using the example of contemporary architectural work, it is demonstrated how interaction with an artwork enables us access to the past, even though its creator did not live in the times he refers to.
Prawa autorskie (c) 2024 Aleksandra Piętka https://creativecommons.org/licenses/by-nc-nd/4.0
Film Adaptations of Contemporary Polish Literature. An Attempt to Characterize the Phenomenon
The article is devoted to the latest phenomenon of adapting contemporary Polish literature into film. As the author assumes, starting from Polish-Russian War (2009), Polish filmmakers have been increasingly interested in adapting narratively and stylistically complex prose, which seems to be rather difficult to express using the language of film. This new trend raises the question of how contemporary adaptation studies should look. The author analyzes adaptations taking into account four aspects of this new phenomenon: 1) collaboration between writers and filmmakers, 2) metareferences in film to the literary medium, 3) multidirectional references and inspirations between literature and film, 4) dialogue between literary texts and their film adaptations. To describe this new trend, the author refers to the contemporary field of adaptation studies. He characterizes writers such as Jakub Żulczyk and Dorota Masłowska as “multiplatform authors” and shows their complex film activities. The author argues that in the latest adaptations, such as Polish-Russian War, The Mighty Angel (2013) and Inni Ludzie (en. Other People), filmmakers emphasize the literary character of the original. These examples also show that intermediality of contemporary works of art encompasses a number of other media, such as music and theater. However, the author opposes the scholars specializing in adaptation studies who radically reject textual analyses and medium specificity research. In his opinion, one of the most important tasks facing contemporary comparative literature and film studies is to characterize the way in which film discourse transforms, reduces, or extends the meanings of literary works, placing stories in a different media context. Keywords: film adaptation, adaptation studies, contemporary Polish literature, Polish writers, transmediality, intermediality
Prawa autorskie (c) 2024 Robert Birkholc https://creativecommons.org/licenses/by-nc-nd/4.0
Pop Culture against Gravity. On Lightness in Advertising
The author of the article (starting with the concept formulated by Italo Cavino in the American Lectures, which she reads critically) examines the manifestations and use of the category of lightness in persuasive messages. The analyzes of visual advertisements prove, among other things, that the creators of today's adverts saw various manifestations of lightness (both in terms of content and form) as a skillful way to express valuations and a convenient tool for creation. The study provides grounds for the recognition that not only literary works have the means to allow the viewer to “rise above the weight of reality” and enjoy “direct existence”. The author suggests that – taking into account the extremely wide spectrum of contextualization of lightness in texts representing popular culture, its persuasive meanings and the creative potential associated with it – what would be worth to consider in more detail, is the role of this category in the process of replacing the traditional “culture of needs” by the “culture of desires”.
Prawa autorskie (c) 2024 Brygida Pawłowska-Jądrzyk https://creativecommons.org/licenses/by-nc-nd/4.0
Krystian Lupa and the Pop Culture Icons, i.e. "Persona. Marilyn" and the Mythical Body in Flames
The article presents an analysis of Krystian Lupa's performance “Persona. Marilyn” in terms of the symbolism of fire that appears in the play. The play itself is a fantasy about the last days of Marilyn Monroe's life, who, through her work on the planned role of Grushenka in The Brothers Karamazov, intends to find her identity and rediscover herself as an actress. The key to interpreting the play lies in the final scene of the performance, in which Marilyn Monroe burns laid on a catafalque. The text constitutes an attempt to flesh out possible interpretations of this scene, using references to the broad symbolism of fire in culture, particularly based on the thought of Gaston Bachelard (fire as a transfer to the sacred zone, sacrifice, purification, destruction, desire).
Photography and Nostalgia. About the "Cold War" Film by Paweł Pawlikowski
The text attempts to answer the question: why does blurring the lines between film and photography play such a significant role in Pawlikowski's movie, and how does the use of photographic solutions in the cinematic narrative lead Pawlikowski towards nostalgia. Starting from Andrei Tarkovsky’s film Mirror – which served as inspiration for Pawlikowski – and its anchoring in photography, the author tries to demonstrate that both directors utilize the inherent ability of photography to capture reality, thus making it possible to reach the image of the given memory. Furthermore, the use of photographic solutions in the film results in simplification, which, in Pawlikowski's perspective, constitutes a sign of nostalgia.
Prawa autorskie (c) 2024 Izabela Tomczyk-Jarzyna https://creativecommons.org/licenses/by-nc-nd/4.0
“The European Culture is Sinking like Venice”. Italy in Memories of late Jarosław Iwaszkiewicz
The main purpose of this article was to present specific motifs, which occur in the travel reports by an outstanding Polish writer and poet, Jarosław Iwaszkiewicz. As the study showed, Iwaszkiewicz usually mentioned neglected or abandoned places and objects. He was interested in art galleries, churches and chapels with tombstones, cemeteries, old castles and ancient ruins. Moreover, the author of those texts presented famous works of art associated with subjects such as ugliness, suffering and death. He would also write down his own opinions about art and culture. Journeys to Italy contain pessimistic images of the decline of all values, especially of the beauty and goodness. Reading the discussed work, one may get the impression that the writer was visiting not so much the “mythical” Italy, formerly considered a land of wonders and a treasure trove of art, but an entirely different world – one that evokes melancholy, anxiety and a sense of emptiness.
Prawa autorskie (c) 2024 Elżbieta Sadoch https://creativecommons.org/licenses/by-nc-nd/4.0
On Valuation in Reportage – between Reflectiveness and Judgement
The aim of the article is to reflect on the issue of valuating reality in reportage – a problem closely related to the issue of the creator's subjective stance and the adopted narrative strategy. The text has the character of a case study – it is focused on the analysis of two literary reportages – Powietrze tu mokre (en. Here The Air is Wet) by Małgorzata Rejmer and Zgorszenie polskie (en. Polish Scandal) by Mirosław Wlekły. The presented observations are intended to demonstrate that the typologies functioning on Polish ground and defining possible manners in which the author becomes present in a reportage text do not reflect the complexity of literary realizations of the genre.
Wiersze noworoczne Jarosława Iwaszkiewicza. Od poezji okolicznościowej do gatunku prywatnego
The author analyzes the poems by Jarosław Iwaszkiewicz written at the turn of the year, either the last day of the passing year or the first day of the new year. He distinguishes between the trend of occasional “New Year’s poems” and the trend of private poems. The latter includes texts whose manuscripts, preserved in the writer’s archive, bear a date capturing the moment of the turn of the year. The circumstances of their creation, common motifs, and the ritualistic nature of their composition, emphasized by the writer, suggest that he treated those texts as a private genre practiced by him. The texts attempts to characterize this genre.
Prawa autorskie (c) 2024 Radosław Romaniuk https://creativecommons.org/licenses/by-nc-nd/4.0
Świeccy pasterze polskiego kina. Analiza porównawcza filmów „Boże Ciało” (2019) Jana Komasy i „Wszystkie nasze strachy” (2021) Łukasza Rondudy i Łukasza Gutta
Two recent high-profile Polish films with church themes – Corpus Christi and All Our Fears – have as their protagonists lay people who, nonetheless, due to their religious commitment, take on the role of spiritual guides in their communities. Their inner strength is grounded in a personal relationship with God, yet they remain on a collision course with the institution and teachings of the Church. Corpus Christ tells the story of a false priest, Daniel, who seeks to relieve the local community of its anger and pain after a tragic car accident. In All Our Fear, we follow a young artist who tries to live openly as a homosexual person, while also being a member of the Roman Catholic Church community. Daniel (both characters bear the same name) similarly tries to relieve the pain and grief of the local community following the suicide of a young lesbian girl. Both films, inspired by true events, are not limited to simple criticism of the Church, which sets them apart from others dealing with the subject of faith and the Church in recent Polish cinema. In this article, I conduct a comparative analysis of the two films, discussing the role of religious rituals (a Catholic burial and the Stations of the Cross service, respectively), prayer, sexuality and violence in both works. Despite many plot similarities, the pictures differ significantly in the way they portray their protagonists. Daniel's fate in Komasa's Corpus Christi is tragic, and the film employs numerous biblical “hermeneutic transpositions”, which allows it to be considered an example of post-secular cinema. In All Our Fears, Daniel Rycharski is an artist who reworks his experiences into an art form. The film thus reveals its elegiac and therapeutic nature – Daniel's works are intended to commemorate the deaths of people persecuted because of their sexual orientation. However, it is difficult to speak of inner transformation of the protagonist in this case. Instead, the film tries to idealize him: All Our Fears is a biography of Daniel Rycharski filmed to appreciate his “ecumenical” attitude, which is treated here as a moral model. Gutt and Ronduda's film can be described as strongly persuasive, and in some aspects even tendentious – the filmmakers portray Daniel in an (almost) hagiographic manner.
Prawa autorskie (c) 2024 Adam Domalewski https://creativecommons.org/licenses/by-nc-nd/4.0
„Najważniejsze są logika i spójność” – o sztuce operatorskiej i współpracy z Romanem Polańskim
„Najważniejsze są logika i spójność” – o sztuce operatorskiej i współpracy z Romanem Polańskim z Pawłem Edelmanem rozmawia Katarzyna Taras
Prawa autorskie (c) 2024 Katarzyna Taras https://creativecommons.org/licenses/by-nc-nd/4.0
„Route 99” – podróż przetworzona w formę artystyczną. O narastającym na świecie nacjonalizmie, Iwaszkiewiczowskim doświadczeniu podróżowania i upodobaniu do sztuczności teatru
Route 99 – podróż przetworzona w formę artystyczną. O narastającym na świecie nacjonalizmie, Iwaszkiewiczowskim doświadczeniu podróżowania i upodobaniu do sztuczności teatru – z Filipem Bajonem rozmawia Izabela Tomczyk- Jarzyna
Andrzej Kijowski o Jarosławie Iwaszkiewiczu
This article presents the complexity of the relationship between two writers belonging to Polish literature of the twentieth century, Andrzej Kijowski and Jarosław Iwaszkiewicz. Kijowski’s texts, which form the basis of these considerations, concern both Iwaszkiewicz’s artistic work and his personal life, which is revealed through direct interpersonal relations. This distinction corresponds to two groups of Kijowski’s texts about Iwaszkiewicz: (1.) official, i.e. reviews and sketches published in the social and cultural press of the time, and (2.) unofficial, i.e. private diaries, not intended for publication in the author’s intention. Thus, two separate, though complementary literary portraits of Iwaszkiewicz were derived from Kijowski’s writing: an outstanding writer, a great prose writer, who was no stranger to the metaphysical dimension of literature, and an efficient architect of the literary life of the time.
Prawa autorskie (c) 2024 Wiesława Tomaszewska https://creativecommons.org/licenses/by-nc-nd/4.0
(Nie)proszony gość, czyli Derrida na kolacji z Don Juanem. Gościnność w „Zwodzicielu z Sewilli i Kamiennym Gościu” według filozofii Jacques’a Derridy
In the 1990s, the French philosopher considered to be the father of deconstructivism, Jacques Derrida, inspired by the opening of European borders, took up the subject of hospitality, dedicating to it a special seminar, the fruit of which are two extensive volumes entitled L’ hospitalité, which are, unfortunately, still not translated into Polish. To illustrate his views, Derrida used literary classics, mainly Oedipus at Colonus by Sophocles. The author’s thesis is that in the most important work of Spanish theater, The Trickster of Seville and the Stone Guest, one can also find arguments fully attesting to Derrida’s philosophy of hospitality. The figure of Don Juan allows us to look at the guest from a broader perspective; it is not necessarily someone benevolent whom it is good to receive. It can also be a complete stranger about whose true intentions we may even have reasonable doubts. However, even in this case, absolute hospitality dictates that we offer them a warm welcome, for it is necessary to welcome a stranger who wishes perhaps to harm and sometimes even kill the host. This is precisely the situation that occurs between Don Juan and the Stone Guest, whose roles in the drama change and mutual hospitality is transformed into “hostility”, a concept created by Derrida, which allows him to give a surprising twist to his reflections on hospitality.
Prawa autorskie (c) 2024 Jadwiga Clea Moreno-Szypowska https://creativecommons.org/licenses/by-nc-nd/4.0
Wokół estetyki filmowej kulturotwórczych żywiołów. Analiza wybranych kadrów z filmu „Romeo i Julia" Baza Luhrmanna
This text presents an analysis of selected frames from Baz Luhrmann’s 1996 film Romeo+Juliet. The author examines the aesthetics of material elements – fire and water – drawing on Gaston Bachelard’s concept of imagination, supplemented by Maurice Merleau-Ponty’s phenomenological theory of perception and Jung’s idea of archetypes. Through the lens of specific hermeneutics of faith (aiming to restore meaning to a text) and a foundational understanding of primordial symbols, she explores their cinematic manifestations. The researcher incorporates traditions of phenomenology and hermeneutics not only by referencing particular theories, but also by employing an essayistic style of argumentation, rich with metaphors and intertextual (or even inter-visual) references. This literary and scientific description is further enriched with comparative elements. Through a reference to William Shakespeare’s original drama, the author seeks to capture the interplay of meanings that emerge from intersemiotic translation, particularly in the relationship between word and image. The analyzed film frames serve as a starting point to ponder the essence of symbolization and the symbol itself, understood as the unity of opposites. The primary aim of this creative analysis is to invite the reader to engage in a game of associations and to participate in culture-creating symbolic interpretations.
Prawa autorskie (c) 2024 Elżbieta Stachowiak-Dudzik https://creativecommons.org/licenses/by-nc-nd/4.0
Second part of a paper; the first one was published in “Załącznik Kulturoznawczy” 2020 No 2. This part, in opposition to the previous one, concentrates on watches and other technical devices in one novel, written by a female member of the Tyszkiewicz family, Maria Tyszkiewiczówna (1871-1943). The novel, entitled Spójnik (A Conjunction), was published in Warsaw in 1902. It’s critical reception was rather moderate in Poland, but quite favorable abroad. The paper discusses different types of watches, present in this novel, and the role they play in the development of the plot. Tyszkiewczówna’s novel contains also probably the first detailed description of a phonograph in Polish literature. It’s author develops a vision of future phonographic archives, preserving human voices from different periods. She is interested in technical devices that convey idealistic notions (general, like time, or individual, like thoughts), through the means of the acoustic waves.
Prawa autorskie (c) 2024 Jan Zieliński https://creativecommons.org/licenses/by-nc-nd/4.0
Janusza Stannego przygoda z plakatem filmowym
Professor Janusz Stanny, a legend and master of Polish illustration, was also a poster artist. His creative path might have taken a different course had it not been for the premises, which were then necessary to paint large format posters. He studied at the State Printing High School, where he designed his first posters while working for the military press, then he became a student at the Graphics Department of the Academy of Fine Arts in Warsaw. He made his dream come true and took up studies in Henryk Tomaszewski’s poster studio. At that time, he started cooperation with the magazines “Szpilki” and “Dookoła Świata”, as well as with the publishing houses Iskry and Czytelnik. He actively participates in the 5th Festival of Youth and Students, sketching foreign guests. It was during his studies that Janusz Stanny’s first film posters were created, commissioned by Centrala Wynajmu Filmów. The posters are: Dark River, Irena Go Home!, The Ox of Kulm and The Partisans. After graduating from the Poster Studio, he designs covers. Short, intelligent thinking and a simple graphic form are the important elements taken from Tomaszewski’s studies, which Stanny transfers to the area of a graphic form smaller than a poster, which is the cover. At that time, he buys a tiny, charming studio in the Old Town at Świętojańska street, where, also due to the limited space, he devotes himself to work on illustrations and author’s books, and also accepts the proposal to replace Jan Marcin Szancer at the RUCH publishing house. In the 1970s, he exchanged a small art studio for a much larger one, enabling him to work freely on larger formats, then he took over the Book and Illustration Studio at the Faculty of Graphic Arts, which he would lead until 2004. Studies in Henryk Tomaszewski’s Poster Studio had a huge impact on Stanny’s thinking about illustration, both in the area of his own work, as well as in academic teaching. For 28 years he headed the Illustration Studio at the Faculty of Graphic Arts of the Academy of Fine Arts in Warsaw, remaining in the circle of his master, Professor Henryk Tomaszewski and other poster artists: Julian Pałka, Maciej Urbaniec, Waldemar Świerzy and Rosław Szaybo. Both academic education and Stanny’s work would not be what they were had it not been for his studies in Tomaszewski’s studio and his first steps in the field of film poster there.
Prawa autorskie (c) 2024 Katarzyna Stanny https://creativecommons.org/licenses/by-nc-nd/4.0