Wyniki wyszukiwania - Biblioteka Nauki

1

Conceptual Analysis in the Field of Management

100%

Pilarski G.

Logistics and Transport

|

2021

|

tom Vol. 51-52, No. 3-4

79--92

EN

In the literature on the subject, the terms steering, management and control are often used interchangeably. However, in the course of the terminological analysis, the author indicated the dependencies between these concepts and defined the area of their application. The conducted research allowed for the identification of the concept of command and the area of its influence. The system of command, as a special (specific) form of management, allowed for the presentation of the entirety of the commander's purposeful activity as part of the command system. As a result of the terminological analysis, the author drew attention to the diversity of the analysed concepts, which will allow for their purposeful and proper use in research in the field of social sciences in the disciplines of safety science as well as management and quality science.

2

Conceptual Analysis in the Field of Management

100%

Pilarski G.

Logistics and Transport

|

2021

|

tom 51-52

|

nr 3-4

79-92

EN

In the literature on the subject, the terms steering, management and control are often used interchangeably. However, in the course of the terminological analysis, the author indicated the dependencies between these concepts and defined the area of their application. The conducted research allowed for the identification of the concept of command and the area of its influence. The system of command, as a special (specific) form of management, allowed for the presentation of the entirety of the commander's purposeful activity as part of the command system. As a result of the terminological analysis, the author drew attention to the diversity of the analysed concepts, which will allow for their purposeful and proper use in research in the field of social sciences in the disciplines of safety science as well as management and quality science.

3

ELEMENTE DE NATURĂ FUNCȚIONALĂ ÎN ARTA SPECTACOLULUI DE TEATRU

100%

FLOAREA S.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

|

2015

|

tom 7

66-90

EN

George Banu has never allowed theoretical research and academic study to quench his emotion. His way of expressing himself was the one of a word and image craftsman. Is George Banu a friend of the theatre directors, from Brook to Zholdak, from Grotowski and Kantor to Warlikowski and Yannis Kokkos or Felix Alexa, from Strehler to Bondy or Castellucci? Is he a theatrologist who avoids the trap of recipes forced upon the art critic? In a subtle and indirect manner, he reminds us that the theatre is not a personal affair but something meant to stir the general interest that creates the bond between the human being and the world and the stars. His critical journeys are a tribute to the universality of the theatre.

4

Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych

63%

Bareja S.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2014

|

tom 14

|

nr 23

195-110

EN

Stanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych (Candid camera filmmaking for entertainment TV programs); defended in 1974; hasn’t been published yet in any part. As its title precisely indicates, Bareja’s paper revolves around a multi-stage process of making candid camera film clips. Bareja writes about his own experiences from the time of making TV show Tu Telewizja Warszawa w Programie 5 (Here is Warsaw TV on Channel 5, 1972; candid camera clips were a part of it). Thus, the theoretical deliberations are frequently illustrated with the examples from director’s practice.

PL

Stanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych (Candid camera filmmaking for entertainment TV programs); defended in 1974; hasn’t been published yet in any part. As its title precisely indicates, Bareja’s paper revolves around a multi-stage process of making candid camera film clips. Bareja writes about his own experiences from the time of making TV show Tu Telewizja Warszawa w Programie 5 (Here is Warsaw TV on Channel 5, 1972; candid camera clips were a part of it). Thus, the theoretical deliberations are frequently illustrated with the examples from director’s practice.

5

Dva druhy strategií - dva druhy napětí

51%

Šotkovský J.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2014

|

tom 17

|

nr 1

315-329

EN

The paper "Two types of narrative strategies – two types of suspense" presents several general points concerning the structure of theatre performance examined by means of narratology and reception theory. The author explores strategies that enable a theatre director to attract spectators and engage them in an active participation in the performance. Analysis of two types of suspense is presented: that of a plot suspense (i.e. spectator is attracted by the plot), and an interpretative suspense (i.e. spectator is attracted by the necessity of negotiating the meanings by oneself); the two types of suspense are defined and demonstrated using examples of concrete directorial strategies. The theoretical study is followed by a practical demonstration of the given methodology in the analysis of Ladislav Smoček's production of Hráči (The Gamblers), based on the eponymous play by Nikolai Gogol, at the Činoherní klub Theatre (1982).

6

Druga Reforma Teatru – Prolegomena

51%

Braun K.

Tematy i Konteksty

|

2023

|

tom 18

|

nr 13

315-337

EN

The history of theatre in the 20th century distinguishes two theatre reforms. The first took place from the final years of the 19th century to the late 1930s. The second was from the mid-1950s to the late 1980s. These were movements of renewal and modernization of the art of theatre. Started by individual artists and small groups, assisted by playwrights and theorists, who were often the artists themselves, both reforms gradually reached wider areas of theatre life. The Second Reform was a reformist movement of young, avant-garde, rebellious, experimental, and searching theatre. The movement was born in the 1950s in Poland within student and alternative theatres and in the United States, as Off-Broadway and then Off-Off-Broadway. It reached tremendous expression in the 1960s in the work of Jerzy Grotowski’s Laboratory Theatre, Bread and Puppet Theatre, Living Theatre and several other companies in many countries around the world. It matured in the seventies, bringing out the powerful theatre of Tadeusz Kantor, and extremely original “Gardzienice” of Włodzimierz Staniewski.However, it did not reach some areas of theatre at all. Throughout the West, in South America, Australia, in Japan, the Second Reform was a challenge and an alternative to commercial, popular, traditional theatre. In this part of Europe, which was under the control of the Soviet Union, the Second Reform was a challenge to totalitarian regimes; it undermined totalitarian censorship and tore the communist iron curtain. Its productions were manifestations of freedom. In the field of a performance’s creation, the Second Reform brought out and accentuated the communality and processuality of theatre art. In the field of directing, the Second Reform decisively placed the director at the head of the team of creators preparing and executing a theatrical performance. In the field of acting, the Second Reform introduced “acting of being” in place of “acting of character.” In the field of space, the Second Reform sought to integrate the playing area and the observation area of the show; its lasting achievement became a theatre with variable space – “The black box”. In the field of literature, the Second Reform questioned the underlying function of drama in the theatre, practiced “writing on stage,” with the actors themselves “creating” the text of the show, and the director “adapting” existing dramas. The author of this article witnessed, chronicled and participated in the Second Theatre Reform. He published books about it and created production in its spirit.

PL

Historia teatru XX wieku wyróżnia dwie reformy teatru. Pierwsza z nich toczyła się od końcowych lat XIX wieku do końca lat trzydziestych XX w. Druga zaś od połowy lat pięćdziesiątych do końca lat osiemdziesiątych tegoż wieku. Były to ruchy odnowy i uwspółcześnienia sztuki teatru. Rozpoczynane przez indywidualnych artystów i niewielkie grupy, wspomagane przez dramatopisarzy i teoretyków, którymi byli często sami twórcy, obie reformy stopniowo docierały do coraz szerszych obszarów życia teatralnego. Pierwsza z tych reform zwana była przez wiele lat „Wielką Reformą Teatru”, a otrzymała tę nazwę przez analogię z „Wielką Wojną”, lub „Wielką Wojną Światową”, jak zwana była wojna lat 1914-1918. Gdy w roku 1939 wybuchła i stopniowo rozszerzała się na cały świat następna wielka wojna, uzyskała ona nazwę „Druga Wojna Światowa”. A wtedy ta poprzednia, „Wielka Wojna” zaczęła być nazywana „Pierwszą Wojną Światową”. Analogicznie, gdy w latach pięćdziesiątych narodził się nowy ruch odnowy teatru, który obejmował stopniowo wiele krajów, narastała świadomość, że jest to kolejna, już druga w XX wieku, reforma teatru. W tej sytuacji „Wielka Reforma Teatru” zaczęła być nazywana „Pierwszą Reformą Teatru”, zaś ta następna reforma „Drugą Reformą Teatru”. Mówimy więc o „Pierwszej (Wielkiej) Reformie Teatru” i o „Drugiej Reformie Teatru”. (W dalszym ciągu tych rozważań nie będą już potrzebne cudzysłowy). Pierwsza Reforma Teatru uznała widowisko teatralne za dzieło sztuki, podobnie jak dzieła sztuk plastycznych egzystujące niezależnie od obserwującego go widza. Druga Reforma Teatru taktowała widowisko jako międzyludzki proces ukształtowany artystycznie. Mówiąc o tych dwóch reformach – mówimy o teatrze, którego już nie ma. Tym bardziej należy utrwalać pamięć o nim.

7

Teleologia autorstwa

45%

Hendrykowski M.

Ruch Prawniczy, Ekonomiczny i Socjologiczny

|

2015

|

tom 77

|

nr 2

27-34

EN

Authorship is not an unknown concept in the history of the Mediterranean culture. As a matter of fact the phenomenon of authorship has been present since the ancient times and is much older than its protection. An interdisciplinary dialogue about protection and codification of copyrightlaw began some five hundred years ago and led to an effective sustainable development in the entire Mediterranean area, playing in modern times a role of the cultural heritage. What is authorship today? Is it still a valid category? Who owns the movie rights? The essay introduces discussions on issues that are bound to engage readers attention (e.g. author’s definition, copyright owner, media production, art of moving image, team working, collective creation, attribution, etc.) and provide a stimulating new way into exploring key concepts of copyright law in film and new media.

PL

Podstawowy kierunek rozważań poświęconych sytuacji autora w kulturze nowożytnej wyznacza teza, iż fenomen autorstwa stanowi podstawę funkcjonowania i rozwoju kultury Zachodu zarówno w czasach współczesnych, jak i w kontekście jej wielowiekowej tradycji sięgającej świata antyku. Nowe technologie nie wyeliminowały instancji autorskiej, wprost przeciwnie, po raz kolejny w dziejach odkryły nieodzowność autora jako sprawcy utworu artystycznego. Od końca wieku XIX do chwili obecnej jesteśmy świadkami pasjonującego procesu adaptacji tradycyjnej idei autorstwa do potrzeb nowych dziedzin twórczości, których wyrazem stał się utwór audiowizualny. Autorstwo traktowane jako funkcja i własność intelektualna dzieła posiada wymiar symboliczny i autoteliczny, realizując własne zadania i cele w ramach danego systemu kultury. Teleologia autorstwa, z jaką mamy do czynienia w sztuce i nauce, jest źródłem szczególnie cennych wartości społecznych, dlatego powinna stać się obiektem pieczołowitej ochrony i troski państwa. Wprawdzie prawo autorskie wchodzi w skład domeny prawa prywatnego, jednak wyższego rzędu wartość, jaką wnosi wszelka twórczość do życia danej zbiorowości, czyni zarówno wymiar sprawiedliwości, jak i wszelkie instytucje państwowe odpowiedzialnymi za jej mądrą i skuteczną ochronę.