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1
Content available remote Między "czas się wywichnął" a "czas wypadł z ram". Wprowadzenie do recepcji myśli Gillesa Deleuze'a w polu kultury audiowizualnej
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Świętochowska G.
Panoptikum
|
2014
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nr 13(20)
6-14
EN
This arcticle is an attempt to report the reception of the audiovisual part of Deleuzian thinking.
2
Content available remote Krystaliczne kino Gilles Deleuze'a: system otwarty
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Jakubowska M.
Panoptikum
|
2014
|
nr 13(20)
54-69
EN
The paper's aim is to introduce Gilles Deleuze's Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies.
3
Content available UWIERZYĆ W CIAŁO, UWIERZYĆ W ŚMIERĆ Kilka analiz filmowych na marginesie filozofii kina Gillesa Deleuze’a
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Jakubowska M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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tom 24
86-105
EN
G. Deleuze, while describing the contemporary audiovisual culture, points out to a paradox. The man has lost the sense of his own, authentic life, and is stuck in the world as if he found himself in a pure optical and sound situation instead. The philosopher ponders how to recover man’s faith in the world and reconnect him with what he sees and hears, how to make him sensitive to issues that are the most vital for his existence, such as love and death. The philosopher-cineaste proposes something apparently absurd, namely encourages us to watch a good movie. Deleuze is not interested in a film performance offered by entertainment cinema, he is looking for films which will make us think and teach us, how to believe in the reality of the world again. Such belief should find its source in corporeality discovered by the cinema: both the common and the celebrated ones. The center of the world in this philosphy is the belief in the body as a germ of life and death. In my analyses, referring to the thoughts of the French philosopher, I suggest taking into account three documentary films: Obrzędy intymne (1984) by Zbigniew Libera, Balsamista (2001) by Ewa Świecińska and Istnienie (2007) by Marcin Koszałka. These three stories about life and death do not leave the viewer indifferent.
4
Content available remote What constitutes a cinematic event?
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Brown W.
Panoptikum
|
2014
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nr 13(20)
118-125
PL
Autor stawia pytanie o status wydarzenia filmowego, odwołując się do różnych koncepcji pojęcia wydarzenia wyprowadzonych z dyskusji Alaina Badiou z myślą Deleuze'a.
5
Content available remote Assemblage Theory and Schizoanalysis
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Buchanan I.
Panoptikum
|
2014
|
nr 13(20)
126-134
PL
Autor artykułu proponuje rozważenie koncepcji asamblażu autorstwa Deleuze'a i Guatarriego w izolacji od licznych wcześniejszych przykładów przywłaszczania, które zdaniem autora jedynie podszywały się pod nią, w zamian skutkując interesującym, ale w jakimś przynajmniej stopniu umniejszającym lub też redukującym użyciem.
6
Content available remote "Nieustanne błąkanie się w tę i z powrotem". Aktualizacja kategorii modernizmu w relacji do kina czeskiego
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Świętochowska G.
Panoptikum
|
2014
|
nr 13(20)
70-88
EN
"Diamonds of the Night" dir. Jan Nemec is commonly classified as modernist in Czech literature on the subject and in comprehensive publications trying to determine aesthetic, historical and temporal specificity of this artstic movement.
7
Content available remote Simondon a Deleuze: intenzita bytí
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Dittmar N.
Filosofický časopis (Philosophical Journal)
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2013
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tom 61
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nr 5
725-737
EN
The topic of the presented text is an examination of the relationship between the philosophy of individuation, as elaborated by Gilbert Simondon and later Gilles Deleuze, and the traditional philosophical issue of the individual and the world, which is exemplified by Kantian philosophy. Simondon attempts to elaborate a philosophy of the individual and individuation which departs from the idea of a priori forms of knowledge, and makes use of the concept of the “pre-individual” as a “proto-ontic dimension” as the real totalities defining the potentials of the individual. In so doing, Simondon embarks on a path that ushers in the philosophical programme which Deleuze would attempt to fulfil: in contrast to Kant, who attempts to stipulate the conditions of possible experience, Deleuze - following Simondon, but also Bergson - sets as his objective to define the conditions of real experience, above all in the book Difference and Repetition (Différence et répétition). The paper concludes by suggesting what consequences this reformulation of the issue of the individual and experience has for Deleuze’s interpretation of the concept of difference and intensity.
8
Content available remote Kultura audiowizualna i jej podmiot: kontrolowany technicznie schizofrenik
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Ilnicki R.
Panoptikum
|
2014
|
nr 13(20)
104-117
EN
Audiovisual culture annihilates boundaries between dualisms such as nature/culture and human/machine. In that process desire is also released and it can operate acrosss many regimes not being bound by dualisms.
9
Content available remote Kino jako machina wyobraźni - teoria kina Gillesa Deleuze'a w kontekście teorii wyobraźni Immanuela Kanta
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Wejman K.
Panoptikum
|
2014
|
nr 13(20)
136-149
EN
The aim of this paper is to show that the film theory of Gilles Deleuze could be thought of as a new theory of imagination.
10
Content available remote Przebłysk jutra: przyszłość jest teraz
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Pisters P. , Szczubiałka M.
Panoptikum
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2014
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nr 13(20)
16-31
11
Content available remote Estetyczny reżim kina - filmowe bajki Jacques'a Ranciere'a
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Morawski J.
Panoptikum
|
2014
|
nr 13(20)
150-168
EN
Im my paper I am introducing philosophical film thought by Jacques Ranciere, presented in his book "Film Fables" (2006).
12
Content available Lingual Asthma: Stuttering of Language in Franz Kafka's Writings
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CHRUSZCZEWSKA K.
Planeta Literatur. Journal of Global Literary Studies
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2014
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nr 3. Global Modernism(s) Approaches to trans-local / trans-cultural / trans-civilizational dimension of Modernist movements
61-82
EN
In this article, I analyze the attacks of ‘lingual asthma’ in Franz Kafka’s writings. Using Deleuzian concept of ‘stuttering language’ as a theoretical framework for my analysis, I claim that the aim of Kafkan deformation of language is to influence the structure of non-linguistic aspects of reality, and specifically to create a new sphere of ambiguity and possibilities. The stuttering of language, according to Deleuze, consists of two phases: first one, when linguistic dispossession affects the perception of language as foreign and distant and when, in result, it becomes external to experience and expression; second one, when writer provokes language to go beyond its borders. The former is the case of stuttering of language, the latter – making the language stutter. First one, relies on finding the cracks in the lingual system, second one, on provoking ruptures. By including the stammer in his prose, Kafka moves toward the extremes of language. Exploring the silence as a state of emergency of expression, he seems to question the whole lingual system. Kafkan literature, which defies itself by the impossibility of interpretation and incorporation of silence and stutter, seems to revise the mere concept of literature as such.
13
Content available remote Teoria poetyki kina Giorgia Agambena a twórczość filmowa Guy Deborda
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Morawski J.
Panoptikum
|
2013
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nr 12(19)
254-268
EN
The main purpose of my paper is to introduce a new approach to visual and cinema studies that redefines the idea of image in its traditional, aesthetical status. One of several philosophers that have got engaged in polemics with Deleuzian film theory, presented in a two-volume book Cinema 1. The movement- image, Cinema 2. The time-image, Giorgio Agamben introduced his own new theoretical proposition. He suggested replacing the fundamental aesthetical understanding of image with the rather ethical and political idea of the gesture. By criticizing the Deleuzian semiotic taxonomy of images he entered the discussion on contemporary film theory with a completely fresh approach. In my paper I will not only present his core ideas on film theory studies but also explain what the consequences of his theory are on the studies of images in contemporary culture. Agambenian ideas do not simply focus on film theory but rather reflect a specific condition of society and culture that he has examined throughout his academic career. Basing on his philosophy I will then introduce the works of Guy Debord and his artistic strategy that I suggest analyzing with references to Agambenian philosophy. By basing my analysis on the two most important and meaningful films by Debord, I seek for connections between their critical and political dimensions and the core concepts created and developed by the Italian philosopher – gesture, potentiality, difference, repetition, etc.
14
Content available remote Krystaliczne obrazy Leosa Caraxa. Uwagi o "Chłopak spotyka dziewczynę" i "Złej krwi" w optyce koncepcji obrazu-czasu Gilles'a Deleuze'a
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Cybulski A.
Panoptikum
|
2014
|
nr 13(20)
89-102
EN
The author of the article analyses the first two feature films of Leos Carax in the perspective of Gilles Deleuze's reflection on cinema.
15
Content available remote Koncepcja aury immanentnej
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Rudnicki C.
Estetyka i Krytyka
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2013
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nr 3(30)
99-116
XX
This article is devoted to the concept of „immanent aura.” In the first, historico-philosophical part, I discuss the theory of art presented by Gilles Deleuze and Felix Guattari in the work What is Philosophy? In the second part, using concepts taken from these philosophers, I analyze selected works, included in the entertainment culture (inter alia black and viking metal music as well as computer games). I try to demonstrate that they can be considered as works of art, because they meet the requirements imposed by Deleuze and Guattari. In the last part I argue with the Benjamin’s concept of “aura” of the work of art, to show that mass reproducibility and availability does not lead to the disappearance of the aura but its transformation: from transcendent the aura becomes immanent.
16
Content available remote Kino-Ja, Kino-świat. Notatki o kinowym sposobie produkcji
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Beller J. , Morawski J.
Panoptikum
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2014
|
nr 13(20)
32-52
17
Content available remote Powtórzenie w sztuce polskiej od lat 90. XX wieku a problem końca sztuki
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Śniegocka B.
Estetyka i Krytyka
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2013
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nr 3(30)
129-144
XX
Article presents ways of using the philosophy of difference and repetition as a method of interpretation the contemporary Polish art. It is shown how the philosophy is functioning and forming itself. Theoretic considerations apply concepts of Gilles Deleuze and Jacques Derrida and the use of this line of researches in the discourses of art taken by Rosalind Kraus, Umberto Eco and Arthur C. Danto. Synthetic analysis of repetition which is understood as a morphological, ostentatious, transformation and transfiguration can be found both in the pop-art and contemporary Polish art, called popbanalizm, which for the purposes of the article is represented by Wilhelm Sasnal, Marcin Maciejowski, Jakub Julian Ziółkowski, Agata Bogacka, Jawdiga Sawicka.
18
Content available „Być w mniejszości, być mniejszością” (Projekt międzynarodowej interdyscyplinarnej konferencji naukowej)
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Rźny J.
|
2016
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tom LXXI
189-208
EN
The project of international scientific conference, inspired by the thought of Gilles Deleuze and Félix Guattari, encourages to look from the position of different disciplines and research methodologies at broadly understood minority problematics. The following specific issues have been proposed as a subject of reflection: minority identity; dependency, anti-dependency and post-dependency aspects of the relationship between the minority and the majority; borderland phenomenon; center–periphery relations; spatial mobility vs minorities; cultural difference; meeting people of different cultures; multiculturalism vs interculturalism and transculturalism; minority discourse on minorities. At the same time, the issue of minority is placed on the grounds of “long duration”, regarded as an important part of the intellectual heritage of the Enlightenment, applied or rejected in the modern concept of a man (the ideas of freedom, equality, human rights, tolerance) and in the ways the description of the World is constructed (categories essentialism, normativity, universalism).
19
Bartleby and His Brothers or the Political Art of Refusal
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Herer M.
Dialogue and Universalism
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2016
|
nr 2
129-140
EN
The article discusses the political (and potentially emancipatory) meaning of refusal. Against the dominating philosophical perspective, praising participation and sense of community, it argues that the acts of refusal may (or even must) play an important role in resistance against power. Some elements of a possible theory of refusal are to be found in the philosophy of Gilles Deleuze, especially in his famous essay on Herman Melville’s Bartleby, the Scrivener, but also in Dialogues (with C. Parnet) and Mille Plateaux (with Félix Guattari), where he coins the crucial concept of becoming-imperceptible.
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