Wyniki wyszukiwania - Biblioteka Nauki

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Dlaczego przestały milczeć? Dlaczego zostały wysłuchane? Afektywna analiza #metoo w Teatrze Bagatela

100%

Kwaśniewska M.

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nr 159

1-41

EN

The article analyses the media coverage of the accusations of sexual harassment and mobbing made against Henryk Jacek S., a long-time director of the Bagatela Theatre in Krakow, by its female employees. Based on the employees’ statements, the author tries to describe the situation in the theatre before the case was exposed. She refers to the category of ‘ugly feelings’, created and explored by Sianne Ngai, and specifically, to the affect of animatedness, which is characterised by particularly limited agency and the blurring of the boundary between the inside and the outside. The moment when the female employees broke the silence is associated by the author with the affect of disgust (as defined by Sara Ahmed) and the related revulsion and nausea. She also examines how this affective dynamic has influenced the women’s agency and effectiveness in relation to the recipients of their public appearances.

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W stronę Nowej Szczerości. Konceptualizowanie przemian wrażliwości w najnowszym kinie polskim

86%

Kiełpiński Ł.

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nr 119 (Nowa) teoria filmu

115-134

PL

Artykuł jest próbą przeszczepienia wywodzącej się z literaturoznawstwa anglosaskiego kategorii Nowej Szczerości na grunt refleksji o przemianach kina polskiego ostatnich kilku lat. Rozpoznania zostały przedstawione w świetle trendów współczesnej humanistyki i sztuki, by było możliwe udzielenie odpowiedzi na pytanie, jak wobec nich sytuuje się kino polskie. Na przykładzie filmów Cicha noc (reż. Piotr Domalewski, 2017), Zabij to i wyjedź z tego miasta (reż. Mariusz Wilczyński, 2019) oraz Wszystkie nasze strachy (reż. Łukasz Ronduda, Łukasz Gutt, 2021) autor stara się pokazać rosnące zainteresowanie takimi dyspozycjami afektywnymi bohaterów filmowych jak czułość, podatność na zranienie i troska. Proponowane rozumienie Nowej Szczerości w kontekście kina polskiego odnosi się do filmów, których twórcy podzielają obecne w polskiej debacie publicznej przekonanie o polaryzacji społecznej i kryzysie wspólnoty, a zarazem sugerują inny – reparacyjny, niosący nadzieję – model relacyjności.

EN

The article is an attempt to transplant the category of New Sincerity, which originates from Anglo-Saxon literary studies, to the reflection on the changes in recent Polish cinema. The author's diagnoses are discussed in the context of new trends in the humanities and arts in order to answer the question how Polish cinema is positioned in relation to them. Using the examples of such films as Cicha noc (Silent Night, dir. Piotr Domalewski, 2017), Zabij to i wyjedź z tego miasta (Kill It and Leave This Town, dir. Mariusz Wilczyński, 2019) and Wszystkie nasze strachy (All Our Fears, dir. Łukasz Ronduda, Łukasz Gutt, 2021), the author tries to show the filmmakers' growing interest in such affective dispositions of the protagonists of the movies as sensitivity, vulnerability, and care. The proposed understanding of New Sincerity in the context of Polish cinema refers to films by directors who share the conviction, present in the Polish public debate, about the social polarisation and crisis of community, and at the same time offer a different – reparative and hopeful – model of relationality.

3

The Saving Order of Science: New Atheist Sam Harris’s Scientism is not Fundamentalism but Affective Attachment to a Salvific Epistemology

86%

Ruper S.

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nr 2

27-60

EN

The New Atheist movement has been called “fundamentalist” in its allegiance to science. While true that New Atheism is remarkable among the various historical formations of atheism for its championing of the sciences, it is not fundamentalist. Where it does share a resemblance to Christian fundamentalism is in their respective attachments to a salvific epistemology either of science or of faith. For New Atheists, science “saves” as it provides order against chaos. This paper focuses on the writings of the New Atheist Sam Harris, drawing attention not just to the ordering function of science generally but also the ways in which Harris deploys science to engulf 1) morality, 2) the Buddhist belief that the self is an illusion, and 3) Buddhist practices of meditation. This study illuminates some affective potencies of science (or other potential epistemologies) as an ordering, and therefore “salvific,” way of navigating the world.

4

„Wzruszenia wreszcie nie wmówione” – Barańczak afektywnie

81%

Czyżak A.

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nr 26

195-206

PL

The main aim of the article is an interpretation of Stanisław Barańczak’s poem Przywracanie porządku (Restoration of order), written in Cambridge, USA, between December 1981 and July 1982. This composition may be analysed as a specific closure of one stage of his literary output and the starting point of new forms of his creative work. Contemporary affect theory (as a multiplicity of forms and types) proves to be a useful methodology, which affords possibilities for new interpretations of Barańczak’s poetry.

5

O roli wzroku i obrazu w twórczości medytacyjnej Marcina Hińczy

58%

Bielak A.

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tom 1(6)

59-74

EN

Marcin Hińcza (1592-1668) was a Jesuit priest and writer, author of five devotional books. He was interested in visual arts and their utility in enlisting the believers during the Counter-Reformation combat with the protestants. The first part of the article presents emblem books of Hińcza (Plęsy Anjołów and Chwała z Krzyża) as an example of the Jesuit literary current of emblemata sacra i.e. emblem books used to meditate the life of Christ (exponents of the current: Jan David, Jerónimo Nadal, Antoine Sucquet). The literary current based on the symbolic theology (theologia symbolica, iconomystica) which – as Jacob Masen had described it – implied that symbolic arts can be used as a support in decrypting the meaning of God’s creation. The second part of the article analyses the persuasive functions of emblematic icons in meditative works of Hińcza in the context of Kwintylian’s concept of affectus (gr. pathos). The emotive influence on the spectator of emblematic icons was an element of the Hińcza’s didactic technique whose aim was to enable his readers the moral recollection during meditative exercises.