Wyniki wyszukiwania - Biblioteka Nauki

1

The Geography of Self-Representation: Orientalism in Ernest Hemingway’S the Sun also Rises

100%

Borcău M.

Romanian Journal of English Studies

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2014

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tom 11

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nr 1

65-70

EN

This paper will deal with the problematics of cultural self-representation in Ernest Hemingway’s The Sun Also Rises. I shall approach this theme by applying concepts from Edward Said’s Orientalism and Jean Baudrillard’s America to Hemingway’s novel and discussing the limitations of such theories which - it will be argued - oversimplify the issue by reducing it to an opposition between ‘Self’ and ‘Otherness’.

2

Multimodalność w literackich narracjach zombiecentrycznych

100%

Olkusz K.

Zagadnienia Rodzajów Literackich

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2018

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tom 61

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nr 4(128)

9-24

EN

Abstract en: The article focuses on the analysis of the concept of multimodality in the context of zombiecentric stories. The article attempts to indicate the variety of narrative techniques in works a priori perceived as belonging to a lower aesthetic category due to their common (though unfounded) inclusion in the horror genre. Various aspects of multimodality, expressed in the visual dimension (e.g. typographic or illustrative) or in the use of focalization, were subjected to close analysis. These aesthetic procedures are employed not only to depart from the cliché plot schemas of zombie pandemic, but are also used for worldbuilding as tools enabling construction of credible and deeply immersive communications. The high creative competence of the authors of zombie-centric narratives attests to the research potential these texts have to offer.

3

Shuffling Narratives: Apocalypticism, Postmodernism, and Zombies

86%

Wöll S.

Anglica. An International Journal of English Studies

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2020

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nr 29/1

87-107

EN

Zombies and the tropes that surround them have become a staple of popular culture and a familiar presence in movies, television series, graphic novels, and video games. From their Caribbean folklore origins, the undead are palimpsestic metaphors for social issues and cultural anxieties. This article examines the rarely studied tensions between apocalyptic desires to resurrect narrative stability through monstrous bodies and postmodern voices that utilize zombies to decompose societal conventions. Despite this supposed antagonism, the article suggests that zombies amalgamate these contrasting mindsets by assuming a role of pop-cultural mediators that bridge the gap between increasingly divisive cultural epistemologies.

4

Picture booki Iwony Chmielewskiej jako medium otwierające na Innego

72%

Baszewska M.

Toruńskie Studia Bibliologiczne

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2016

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tom 9

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nr 2(17)

59-77

PL

Picture book to medium epoki obrazu, które na polskim gruncie popularyzuje toruńska artystka Iwona Chmielewska. Jej książki poruszają trudne tematy, często marginalizowane we współczesnym dyskursie literackim, społecznych i artystycznym. Należy wśród nich wymienić: niepełnosprawność, chorobę, śmierć, nierówności społeczne, dojrzewanie kobiece, Holocaust, nietolerancję. Książka obrazowa to gatunek hybrydowy, postrzegany holistycznie jako dzieło autorskie, bliski koncepcji książki artystycznej czy liberatury. Picture book funkcjonuje w złożonym modelu odbioru, nie jest przeznaczony wprost dla dzieci, ale raczej dla ludzi w każdym wieku. Idealnym modelem odbioru książek I. Chmielewskiej jest zespół złożony z rodzica i dziecka (dual audience). Specyficzne połączenie dwóch mediów: słowa i obrazu (ikonotekst) nie tylko tworzy w książce obrazowej nową jakość poznawczą, ale jednocześnie zmusza odbiorców do aktywnego analizowania i interpretowania, nie proponuje zarazem łatwych, oczywistych i jednowymiarowych sensów. Problematyka społeczna zawarta w picture bookach I. Chmielewskiej świadczy o pojmowaniu dzieciństwa przez artystkę jako stanu etycznej i politycznej potencjalności. W ten sposób lektura jej książek niesie humanistyczne przesłanie otwarcia się na Innego, przed którym nie należy ukrywać niewygodnych dla dorosłych tematów i czynić z nich tabu.

EN

Picture books, a medium from the “picture age”, are being popularised in Poland by Iwona Chmielewska, an artist from Toruń. Her works discuss difficult issues which are often marginalized in the modern public discourse. Among them we can mention handicapped persons, illness, death, social inequality, feminine adolescence, the Holocaust, intolerance. Picture books are a hybrid art genre which has to be perceived holistically as an author’s piece close to the conception of artistic book or liberature. Picture book perception model is complex, it’s not only for children but for all, in this case age does not matter. An ideal way of experiencing a picture book is the so called Dual Audience mode in which a child reads it with a parent. The specific combination of two medias (word and image) not only provides a brand new quality for the reader, but also drives him into active analysis and interpretation, as the work does not suggest obvious solutions. Social issues presented by Iwona Chmielewska in her picture books prove that the artist perceives childhood as a state of ethical and political potentiality. Her works convey a humanistic message about the need of being open to the Other who should not meet taboo issues in its world experience.

5

Magical Realism as the Poetological Framework for the Concept of the Other and the Different in the Croatin 21st Century Novel

72%

Kuvač-Levačić K.

International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture

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2019

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tom 1

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nr 1

56-84

EN

The poetical determinants of magical realism, although several elements had already been present in Croatian literature from at least the time of the generation of the „Borgesian“ writers, and also earlier, have not been the subject of more in-depth research until recently. And yet, novelistic prose in Croatia, under the influence of similar movements in the World-literature scene, is still a witness to its appearance. In our investigation we will research the elements of magical realism in relation to the concepts and constructs of the Other and the Different in the corpus of these recent Croatian novels: Baba Jaga je snijela jaje (Baba Jaga Laid an Egg) (2008) by Dubravke Ugrešić, Črna mati zemla (Black Mother the Earth) (2013) and Ciganin ali najlijepši (Gypsy but the Most Beautiful) (2016) by Kristijan Novak as well as Prevaranti: Iskupljenje (The Cheaters: Redemption) (2016) by Dorotea Vučić. Literary-theoretical approaches have linked magical realism (since its beginnings in Latin American Literatures) with statements on the Other and the Different (Postcolonial approaches), and in this research we will present how elements of the same function within the context of the 21st century Croatian novel. In her novel, D. Ugrešić uses the theme of aging in the post-transitional nations of Eastern Europe to present the context of the construction of the Other and the Different, realised with the aid of magical-realist elements and characteristics. K. Novak presents a psychosocially traumatised child in his novel Črna mati zemla as well as the Romani community in Ciganin, ali najljepši. D. Vučić also uses this same ethnic group as her theme in her novel, which among all these cited novels is closest to the genre of magical realism, yet her Other is the former collective state of South Slavs, which is literarily constructed as a magical space titled Tromeđe (Tripoint), with emphasis on historical precedents allowing its recognition. After the topic of magical realism is 57 discussed, through a reading of the most important theoretical texts, as a mode and genre as well as its relationship to realism and the fantastic, the presence of these elements in the aforementioned texts will be placed under scrutiny, so that after this, with the aforementioned poetological framework, the concepts and constructs of the Other and the Different will be investigated. Magical realism is recognised as a mode which deconstructs dominant metanarratives (familial, social, political, founded in tradition or actual, universal and local). Its incorporation into the mimetic narrative of novelistic prose texts informs the entirely actual social engagement of these authors, emphasised, in fact by these aforementioned concepts. The deconstruction of dominant metanarratives and the focus of the differences in human experience and the concept of reality, as well as the approaches of the magical realistic mode, are considered here in the poetics of the 21st Croatian novel.

6

At the Crossroads of Modernity: Critical Anthropology in Contemporary Europe

72%

Baer M.

Kultura i Społeczeństwo

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2020

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tom 64

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nr 2

51-70

PL

W artykule zostają podjęte kwestie możliwości zaangażowania antropologicznego w polu politycznego ukonstytuowanym poprzez polityzację „różnicy” w europejskich projektach nowoczesnościa, a w tym kontekście zawłaszcza konflikty związane z płcią, seksualnością, rasą, narodowością/etnicznością czy przekonaniami religijnymi, których efektem są wizje zantagonizowanych politycznych Innych. Autorka odwołuje się do perspektywy autoetnograficznej i omawia własne praktyki dyscyplinarne stosowane od połowy lat dziewięćdziesiątych do dziś, wskazując na ich dobre i złe strony. Najpierw zajmuje się ideą antropologii krytycznej jako elementem akademickich debat aktywistycznych w przestrzeniach studiów gender i queer. Następnie przygląda się stanowisku o charakterze bardziej akademickim, które sytuuje antropologię krytyczną w roli narzędzia służącego kreowaniu wyobrażeń lepszej przyszłości. Ostatecznie opowiada się za wizją antropologii krytycznej w centrum zainteresowań stawiającej sprawczość afektywną, dzięki której skonfliktowane frakcje mogą dostrzec podzielane doświadczenia i uczucia. Nie zakłada, że ten rodzaj zaangażowania krytycznego jest w stanie przynieść zmiany społeczne/polityczne o szerszym zasięgu, sądzi jednak, iż może on wnieść wkład w oswajanie Inności w mikroskali.

EN

This article addresses anthropological involvement in a political sphere constituted by the politicization of “difference” in European modernity projects, and in this context, especially conflicts related to gender, sexuality, race, nationality/ethnicity, or religious beliefs, which result in visions of antagonized, political Others. The author refers to the autoethnographic perspective and discusses her own disciplinary practices from the mid-nineties to today, pointing to the positive and negative sides of those practices. She first discusses the idea of critical anthropology as an element of academic activist debates within gender and queer studies. Then she looks at a more academic position, which makes critical anthropology into an instrument for creating images of a better future. Ultimately, she advocates a vision of critical anthropology that focuses on affective agency, thanks to which conflicting factions may perceive shared experiences and feelings. She does not assume that this kind of critical engagement is capable of bringing about broader social or political change, but believes it could make a contribution to acceptance of the Other on the micro-scale.

7

Book review. Massih Zekavat (2017). Satire, Humor, and the Construction of Identities. Amsterdam and Philadelphia: John Benjamins.

72%

Vincent H.

The European Journal of Humour Research

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2019

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tom 7

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nr 1

EN

Massih Zekavat (2017). Satire, Humor, and the Construction of Identities. Amsterdam and Philadelphia: John Benjamins Publishing Company, 210 pp.

8

From Race and Orientalism in A Midsummer Night’s Dream to Caste and Indigenous Otherness on the Indian Screen

58%

Jayakumar A.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2022

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tom 26

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nr 41

87-102

EN

The article discusses an Indian film adaptation of William Shakespeare’s play A Midsummer Night’s Dream entitled 10ml Love (dir. Sharat Katariya, 2012). There is little scholarship on 10ml Love, which has been studied mainly as an independent film in Hinglish that depicts the lives of the cosmopolitan youth in urban India. Drawing upon recent readings of the play that identify elements of racism and whiteness as well as an analysis from an Orientalist lens that sees India as a gendered utopia, I suggest that the film adaptation highlights not racial/white supremacy but caste supremacy; furthermore, it indulges not in Orientalist tropes but tropes of indigenous Otherness based on religion, gender, caste, and class. I argue that this film presents two opposing political utopias-a right-wing utopia that stands for the maintenance of traditional values and a left-wing utopia that attempts to challenge, question, and subvert the conservative order. However, 10ml Love seems to endorse neither of the two utopias wholly; its reality appears to lie between the two utopias, a reality that is marked by stereotypes of Otherness. This paper analyses the audio-visual depiction of the tension between the utopias at both the ends of the political spectrum, as well as the realities of Otherness created by the presence of various social locations and identities in Indian society.

9

Różnorodne aspekty Inności czarnego charakteru w cyklu powieści J.K. Rowling Harry Potter. Prolegomena

58%

Łukasiewicz A.

Acta Humana

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2017

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tom 8

EN

The paper portrays various aspects of Otherness included in the Harry Potter cycle by J.K. Rowling, focusing on the villain – Lord Voldermort. By Otherness of the character, the author of the report means the interference of the forces triggered by him that disturbs the established order in the presented world. The character’s predisposition, deeds and goals pose a threat to two planes which he contacts with: magical and non-magical ones. He combines features that are known and unknown to the others: he is and is not a human being at the same time. Additionally, the paper depicts the villain’s Otherness which has a dynamic nature. Over the course of the plot, the figure undergoes A metamorphosis and evolves in his Otherness which is built upon three basic spheres concerning the name, the body, and the soul. This is particularly noticeable in the aspect of his life and passing. In order to avoid death, which frightens him, he decides to split his soul into several parts (Horcruxes). This is meant to ensure his immortality. As a result, his soul as well as his material body is destroyed. However, he does not die ultimately. Although Voldermort remains in the world of the living, he is neither a human being nor a spirit. The conception of the villain’s soul indicates its independence from the flesh. After his downfall Voldermort enters other beings’ bodies to be his temporal Horcruxes. Using their obedience, he manipulates them to regain his lost power and body. All in all, it is character’s inability to love that ultimately proves his state of Otherness.

PL

Artykuł przedstawia różnorodne aspekty Inności zawarte w cyklu powieści Harry Potter, skupiając się na czarnym charakterze – Lordzie Voldemorcie. Pisząc o Inności bohatera, autorka tekstu ma na myśli interferencję uruchomionych przez niego sił, które zakłócają ustalony w przedstawionym świecie porządek. Skłonności, czyny oraz cele postaci stanowią zagrożenie dla dwóch płaszczyzn, z którymi ma styczność – magiczną i nie-magiczną. Łączy w sobie cechy, które są znane i obce innym: jednocześnie jest i nie jest istotą ludzką. Ponadto artykuł przedstawia dynamiczną naturę Inności czarnego charakteru. Wraz z rozwojem wydarzeń postać przechodzi metamorfozę i ewoluuje w swojej Inności ukształtowanej w obrębie trzech podstawowych sfer dotyczących imienia, ciała i duszy. Jest to szczególnie dostrzegalne w aspekcie jego życia i umierania. By uniknąć przerażającej go śmierci, bohater decyduje się rozszczepić duszę na kilka części (Horkruksy). Zabieg ten ma na celu zapewnienie mu nieśmiertelności. W efekcie zarówno jego dusza, jak i ciało zostają zniszczone. Niemniej jednak, nie umiera on całkowicie. Mimo że Voldemort pozostaje obecny w świecie żywych, nie jest ani człowiekiem, ani duchem. Koncepcja duszy czarnego charakteru wskazuje na jej niezależność od ciała. Po swoim upadku Voldemort wstępuje w ciała innych osobników, które są jego przejściowymi Horkruksami. Wykorzystując ich posłuszeństwo, manipuluje nimi, by odzyskać swoją utraconą siłę i ciało. Ogólnie rzecz ujmując: to nieumiejętność kochania dowodzi jego Inności.

10

Plotinus on Eternity and Time

51%

Hancock C. L.

Studia Ełckie

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2024

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tom 26

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nr 4

433-446

EN

Plotinus declares often that Plato’s philosophy is the principal influence on his thought. While Plotinus is an original thinker, his originality primarily consists in his innovative adaptation of Platonism for specific philosophical tasks. His innovation led him to develop a new school of thought, Neoplatonism. Plotinus’ philosophy, replete with Platonic influence, is on display in his treatment of eternity and time, exquisitely expressed in Ennead III 7 (45), “On Eternity and Time”. This treatise relies heavily on Plotinus’ teaching on contemplation, which Plotinus borrows, adapts, and refines from Plato’s late dialogues, especially the Sophist. Plato concluded in that dialogue that his metaphysical dualism was incoherent without including intelligence or contemplation in the intelligible world. Plotinus’ philosophy of eternity and time exploits this Platonic conviction about contemplation, which understood metaphysically represents stages in the emanation of the universe. Essentially, Plotinus’ overarching monism or pantheism provides the context for elaborating eternity and time. This monism and corresponding doctrine of emanation become clear once one recognizes how they are expressions of the key principles of Plotinus’ philosophy: (1) that reality is unity, to be real is to be one (that unreality is disunity or multiplicity); (2) that reality is perfection, to be one is to be good (that unreality is imperfection, to be many is to be evil); and (3) that which is metaphysically prior in the universe is superior to that which is posterior. These principles illuminate how emanation explains the genesis of the universe. The One/Good does not produce the universe freely or providentially. Its products, the totality of beings, are produced out of necessity, by virtue of the unbounded goodness of the One. Its superabundant goodness emanates (or overflows), according to the principle, bonum difusivum sui. This emanation produces a descending hierarchy of beings. This emergence is eternal, without temporal succession, without before and after. The One transcends being because being implies an existent with a determinate nature, differentiated from other beings. Since the One is pure unity, it exists without differentiation (or multiplicity). Hence, the One is not a being and exists “beyond being” (epekeina tes ousias, Republic 509 b). As emanation proceeds, it produces a descending hierarchy of beings. Since greater being implies knowledge and life, Plotinus infers that the uppermost beings are consummate intellects and lives. These are the second and third hypostases “hypostasis” signifying fundamental reality; the One existing transcendently as first hypostasis). They live contemplative lives. The life of the second hypostasis is a life of eternal contemplation. Eternity is the life of this divine Intelligence. The life of the third hypostasis is also contemplative. Because its life is not as perfect, its contemplation is successive and discursive, not eternal or intuitive. This is the life that is time, the third hypostasis, the World Soul of Stoic philosophy.

11

Les nouvelles idoles du primitivisme: une mythologie des modernes

51%

Roux B.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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tom 32

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nr Special Issue

102-114

EN

The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of museum ethnography. On the contrary, we wish to place ourselves in a historical perspective, and to take advantage of this contribution to lay down some milestones in an intellectual journey that began more than a century ago and which is still often written in the mode of discontinuity.