Wyniki wyszukiwania - Biblioteka Nauki

1

Filmy orientalne na polskich ekranach lat dwudziestych. Obcość wykreowana.

100%

Świdziński W.

Kwartalnik Filmowy

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2012

|

nr 80

61-78

PL

Lata 20. XX w. były czasem powstania wielkiej liczby filmów orientalnych, rozgrywających się w arabskich haremach, indyjskich pałacach i na pustynnych pustkowiach. Obrazy takie jak francuska "Atlantyda" Jacques’a Feydera, niemiecki "Indyjski grobowiec" Joe Maya czy amerykański "Szejk" George’a Melforda z Rudolfem Valentino odzwierciedlają rozliczne stereotypy na temat Wschodu, wytwarzane przez orientalizm oraz europejski kolonializm, który osiągał wówczas swoje apogeum. Dla milionów widzów filmy te stawały się nie tylko źródłem zachwytów i wzruszeń, ale także specyficznym sposobem „poznania”, nader często fałszującego rzeczywistość. Niezwykle interesująco przedstawia się recepcja tych obrazów w odrodzonej Polsce. Anatol Stern, Karol Irzykowski, Julian Tuwim czy Leon Brun zastanawiają się nad ich artystyczną jakością, zawartą w nich wizją świata, a także nad postrzeganiem Orientu – dla jednych odkrywczym i zachwycającym, dla innych naiwnym i zakłamanym.

EN

During the 1920s a significant number of oriental films was made. Their action took place in Arab harems, Indian palaces and desert wildernesses. Films such as French 'Atlantis' by Jacques Feyder, German 'The Indian Tomb' by Joe May or the American 'Sheikh' by George Melford with Rudolph Valentino in the title role, reflects numerous stereotypes about the East, that were the fruit of orientalism and European colonialism which at the time was at its apogee. For millions of viewers these films were not only a source of wonder and emotions, but a specific form of learning, which all too often gave a false picture of the reality. The way these films were received in Poland in the 1920s is also very interesting. Anatol Stern, Karol Irzykowski, Julian Tuwim and Leon Brun reflected on their artistic quality, the vision of the world they presented and on the way how the Orient was perceived – for some insightful and moving, for others naive and deceitful.

2

Enlightened Travelers and Their Mental Maps

51%

Aretov N.

Colloquia Humanistica

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2012

|

nr 1

EN

Enlightened Travelers and Their Mental MapsThe issue of mental mapping of Eastern Europe (Wolff), posed during the Enlightenment, and the similar problem of the image of the Balkans (Todorova), are both multifaceted. This paper deals with three aspects of these processes and seeks to analyse them through the prism of the Orientalism-Occidentalism opposition.The article opens with a very general description of the Oriental mental maps on the part of 19th-century Bulgarian revolutionaries and modernisers. Most characteristic in this respect are the diaries of those convicted to exile in the Diarbekir fortress. I then turn my attention to texts by influential foreigners who arrived in Bulgaria immediately after 1878, including especially the publications by the Czech historian and Slavonic scholar Constantine Jireček and some of the reactions they provoked.The article reveals common elements in both the foreign perspective on the inhabitants of the Orient/the Balkans/Bulgaria and the Bulgarian perspective on the Occident/Western Europe. A hypothesis is proposed that what the analysed texts portray is not a general clash between traditionalism (patriarchal culture) and modernity but rather a very particular conflict over which group should perform the role of the “civiliser” of Bulgarian society. Both sides of the conflict made instrumental use of existing discourses, be it modernist or patriarchal, Orientalist or Occidentalist.Oświeceni podróżnicy i ich mapy mentalneProblem mentalnego kartografowania Europy Wschodniej (L. Wolff), jak też Bałkanów (M. Todorowa), od czasów oświecenia jest wieloaspektowy. Artykuł charakteryzuje trzy spośród tych aspektów i poszukuje związków pomiędzy nimi, poprzez analizę opozycji orientalizm – okcydentalizm.Na początku prezentuję najogólniej mapy mentalne bułgarskich rewolucjonistów i przedstawicieli nowoczesności z XIX wieku na Bałkanach (Orient). Najbardziej charakterystyczne pod tym względem są dzienniki skazańców z twierdzy tureckiej w Diar-Bekir. Następnie moja uwaga skupia się na tekstach wpływowych cudzoziemców, którzy znaleźli się w Bułgarii bezpośrednio po 1878 roku, a wśród nich w centrum mojego zainteresowania znajdują się niektóre publikacje Czecha Konstantina Irečka i reakcje na nie.Artykuł jest próbą zarysu punktu widzenia cudzoziemca w stosunku do przedstawicieli Orientu /Bałkanów/Bułgarii i bułgarskiego dystansu w odniesieniu do Okcydentu /Zachodu/ Europy. Materiał analizowany skłania ku hipotezie, że nie o zderzenie między tradycjonalizmem (patriarchalną kulturą) i nowoczesnością idzie, ale o konkretną walkę o odegranie roli "cywilizatora" bułgarskiego społeczeństwa. W tej walce oponenci wykorzystują instrumentalnie dostępne dyskursy, modernistyczne, czy też patriarchalne, orientalne, czy okcydentalne. Просветени пътешественици и техните ментални картиПроблемът за менталното картографиране на Източна Европа (Л. Улф) от Просвещението, както и сродния му проблем за отношението към Балканите (М. Тодорова) имат многобройни аспекти. Статията очертава три от тях и търси връзките им, видени през опозицията ориентализъм – оксидентализъм. В началото са представени най-общо менталните карти на българите революционери и модернизатори от ХІХ в. на Ориента. Те са особено характерни за мемоарите на заточениците в Диарбекир. След това вниманието се насочва към текстовете на влиятелни чужденци, попаднали в България непосредствено след 1878 г., на първо място някои публикации на чеха Константин Иречек и някои реакции към тях. Разкрити са общите елементи в ориенталистката гледна точка на чужденеца и оксиденталистките възражения на българина. Изказва се хипотезата, че в случая не се наблюдава сблъсък между традиционно (патриархално) и модерно, а конкурентна борба за ролята на "цивилизатора" на българското общество. В тази борба опонентите използват инструментално наличните дискурси, били те модернистки или патриархални, ориенталистки или оксиденталистки.

3

Smok i panda. Hybrydyczny obraz Chin w polskich dyskursach współczesnych

51%

Pengjie Q.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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nr 40

273-277

EN

The article is a review of Dorota Brzozowska’s study Chińskie ślady w polskich dyskursach współczesnych (Chinese traces in Polish contemporary discourses). The in-depth analysis of the monograph attracts the reader’s attention to the wealth of the collected material and the multitude of viewpoints, but also points out certain inconsistencies the author failed to avoid which in turn led her to fall into the trap of excessive simplification and orientalisation of China.

4

Tradycja barokowa w "Agaj-Hanie"

51%

Seweryn A.

Rocznik Przemyski

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2012

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tom 48

|

nr 2: Literatura i Język

73-104

XX

Agaj-Han is an interesting and important example of long-standing baroque tradition in the literature of Polish Romanticism. Krasiński employs several conventions known from heroic epic poems (Jerusalem liberated by Tasso-Kochanowski), memoirs (The Momoirs of Jan Chryzostom Pasek), baroque iconography, erotic, metaphysical and Counter-Reformation poetry. Frenetic imagination of the Romantic writer is deeply rooted in the seventeenth century frenzy. It has much in common with Baroque fascination with death and corporeality not only in its flourish, but also in destruction and decay. Vanitas in Krasiński's works occurs, most often, in tandem with Worldly Pleasure, the same as in moralistic literature of the Baroque period, especially in its Counter-Reformation stream. Theatricality (topos of life as a battle, theatrum mundi), the use of light effects, imagery of labyrinth in Agaj-Han brings to mind the Baroque period's penchant for illusion related to vanitas and oneirism forming the presented world of the novel. Orientalism in the works of Krasiński and his ambivalence towards the man of the East also has baroque roots. The ambivalence is mainly reflected in the creation of the main character, compared in the novel to a snake, who simultaneously fascinates like Rousseau's Peacock. The Polish Commonwealth in Agaj-Han was presented as antemurale, and a snake, apart from an oriental rug, became the symbol of Romantic Orientalism in Poland.

5

Дiячi украïнськоï культури щодо дискусïï орiенталicтiв та окциденталicтiв у Греко-католицькiй Церквi (1920-1930 рр.)

51%

Kramar R.

Acta Polono-Ruthenica

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2008

|

tom Tom 1 Nr XIII

319-332

EN

The theme of this article is the discussion about Greek Catholic Church tendency of the development in Galician uniate priests’ surrounding such as orientalism and oxydentalism. Spiritual debates were about the ritual forms in epoch of the new challenge of the modernizing world; which of them would be more suitable for the Church. They transformed to the wide discussion about the civilizing development of the Ukraine by means of the scientists and cultural activists.

6

Orientalizm i dyskurs postkolonialny: kilka problemów metodologicznych

45%

Beinorius A.

Porównania

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2012

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tom 12

11-23

EN

The main inspiration for this article’s author is Edward Said’s book Orientalism and the main goal discussion over the development of the conception of the orientalism in the context of postcolonial discourse. The author pays attention to cultural and material violence of Western colonialism. At the same time he highlights the necessity of taking into account such aspects as religious pluralism and cultural variety. It can enable a creation of a communication platformbetween a passive East and an oppressive West.

PL

Główną inpiracją dla autora artykułu jest książka Edwarda Saida Orientalizm, a celem – podjęcie dyskusji na temat rozwoju pojęcia „orientalizm” w kontekście studiów postkolonialnych. Autor zwraca uwagę na materialną i kulturową przemoc kolonializmu zachodniego. Jednocześnie podkreśla konieczność wzięcia pod uwagę takich aspektów, jak pluralizm religijny, czy różnorodność kulturowa. Ma to ułatwić stworzenie platformy komunikacyjnej między pasywnym Wschodem a opresyjnym Zachodem.

7

Orient w fabularnym polskim filmie powojennym. Rekonesans

45%

Nowakowski J.

Porównania

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2013

|

tom 13

167-178

EN

In this paper, I intended to analyse Polish feature films devoted to three central categories: orientalism, postcolonialism and the clash of cultures (civilizations). This article presents the Polish cinema in the following three areas and types. First of all, there are works which show an exotic, oriental space. Secondly, there are films with a hero who is a stranger and an enemy. Finally, in the newest films the protagonist – a new comer from the East – becomes accepted and understood.

PL

Artykuł analizuje obecność wątków orientalnych (blisko- i dalekowschodnich) w polskim filmach fabularnych zrealizowanych po II wojnie światowej w perspektywie takich pojęć jak: orientalizm, postkolonializm i zderzenie kultur. Wynika z tych obserwacji, że obecność tych wątków w naszym kinie jest wciąż skromna, choć po przełomie politycznym z 1989 roku jest ich nieco więcej. Grupuje omawiane filmy w trzy typy: pokazujące egzotykę przestrzeni rodem ze Wschodu, przedstawiające bohatera który jest obcym i wrogiem oraz te, w których przybysz ze Wschodu zaczyna być rozumiany i akceptowany, co ma miejsce w utworach najnowszych.

8

Poland and Its Eastern Neighbours: A Postcolonial Case Study

44%

Ładykowski P.

Baltic Journal of European Studies

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2015

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tom 5

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nr 1

109-132

EN

The article presents problematic issues resulting from the Polish presence on the historical eastern border of the II Rzeczpospolita (Republic of Poland), or, as it is called in the Polish national discourse, “Kresy”. The notion of Kresy, to a certain extent, corresponds to the notion of ‘borderland’. However, the latter is neutral and used mostly in scientific discourse, whereas the former alludes to Polish national awareness in literature and much of the historical writings and presents itself as the lost centre of “Polishness”. This way, contemporary Polish historical memory makes substantial claims towards this space, both in a geographical and historical sense, while hardly tolerating the presence of indigenous, non-Polish populations inhabiting the area- Lithuanians, Belarusians, and Ukrainians. In order to revise these issues in the article, I have adopted a postcolonial studies perspective. Looking at Poland through the lens of postcolonial studies reveals that it holds a unique position due to its double status. Historically speaking, Poland occupied both the position of the colonizer and of the colonized. However, popular Polish imagination tends to see Poland only in its role of the oppressed victims of its powerful ibjesial neighbours. The dominant role of Poland and its version of colonial policy adopted towards its contemporary eastern neighbours is obscured or simply denied both in popular and scientific discourse. The analysis of the role of the “myth of Kresy”, proposed here, hopes to contribute to the understanding of the implications of the Polish contemporary “orientalism”.

9

From Arabia Felix to the Lands Trampled by Tyranny; or, the Picture of the Arab World in the Literature of Polish Enlightenment

44%

Kupiszewska A.

Folia Orientalia

|

2018

10

Przegląd wątków orientalnych w muzyce klasycznej Europy w kontekście saidowskiej teorii orientalizmu

44%

Pawlina A.

Przegląd Orientalistyczny

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2016

|

nr 1-2

183-202

EN

The aim of this paper is to present a theme of Orientalism in European classical music. After Orient and Orientalism have been shortly defined, both in the social and the musical context, attempts are made to analyse how the Oriental ideology, defined by Edward Said, has affected the works of composers in various historical periods. These aspects that prove Said’s theory can be easily found in European classical music. Along with chronological review of the Oriental themes in European music what is briefly presented are the changes of Oriental musical language across the centuries, starting with the 17th century.

11

Kawaii as Represented in Scientific Research: The Possibilities of Kawaii Cultural Studies

44%

Koma K.

Hemispheres. Studies on Cultures and Societies

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2013

|

nr 28

103-117

EN

In this paper, I will analyse and classify the scientific discussion of kawaii (which means cute in English), one of the most important components of contemporary Japanese popular culture; which has been diffused throughout the world and become a transnational culture. I will identify three main discussions in kawaii studies: (1) kawaii as a Japanese proper aesthetic and its origin; (2) kawaii as making a Japanese social feature out of immaturity; and (3) kawaii as a form of globalised culture from the points of view of politics/diplomacy, globalisation, and orientalism. I will delineate further research possibilities to be carried out in Japanese popular contemporary culture, particularly kawaii culture and its relevance in the global and transnational communication age.

12

Severočeské pohraničí v cestopise G. R. Gleiga z roku 1839. Ke konceptu periferizmu

44%

Doušek R.

Národopisný věstník

|

2011

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tom 28_(70)

|

nr 1

7-18

EN

The paper deals with material mining of chapters of Robert G. Gleig’s travelogue where the author describes his journey through the Northeast Bohemia borderland in 1837. On the basis of linguistic means that Gleig uses in his description, it constructs the concept of periferism, stemming from E. Said’s orientalism. It defines periferism as a set of concepts and assumptions describing the periphery and leading to a special treatment of the periphery, i.e. a marginal part of its own social-cultural system that is socially and culturally inferior to the core - the center. The concept of periferism proposes to contemplate over the relationship of social elites and bourgeois circles with the inhabitants of the Czech countryside in the XIX century in the framework of their varied interests in this (social) space (tourism, so-called ethnographic interest, educational activities, etc.).

13

Orientalizmy jako elementy trzeciej kultury w tłumaczeniu „Sonetów krymskich” na język niemiecki

44%

Gąska M.

Studia Translatorica

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2019

|

nr 10

205-221

EN

“The Crimean Sonnets” written by Adam Mickiewicz, which are the literary fruit of the poet’s journey to the Crimea, express his admiration of the peninsula, which the poet called “the East in miniature”. The fascination with the Orient in the Crimean cycle manifests itself not only in applying oriental motifs, which were taken from Arabic or Persian literature, but also in rich vocabulary referring to elements of Turkish, Arabic, Tatar, and Persian culture. Given the fact that in the translation process of “The Crimean Sonnets” from Polish into German these elements are foreign to both the source and target culture, they can be defined as the third culture elements according to Dorota Urbanek. The purpose of this article is to analyse translation techniques used to convey selected orientalisms in “The Crimean Sonnets” in the rendering by Martin Remané and Dirk Strauch. The analysis of the techniques allows to determine whether the translators retained the local colour of the oriental Crimea by preserving the foreign elements or whether they tried to domesticate their rendering.

14

The Representation of Roma Otherness: a Reflexion of Constructing a Subject-Matter of Czech Social Sciences

38%

Šotola J. , Polo M. R.

Národopisná revue (Journal of Ethnology)

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2019

|

tom 29

|

nr 1

44 - 55

EN

Since the year 1989, we can observe a significant development of the scholarly interest in Romani population in the Czech environment. We believe, however, that the way of constructing the research subjectmatter after November 1989 did not bring a corresponding framework for the reduction of social marginalization of the Romani people. In the text, we analyse examples of three different approaches to the study of Romani people whereby we see a paradox in the fact that although these approaches hide behind the emphasis on “the support of understanding”, “the search for problems´ roots”, and “the proposal of solutions”, their way of otherness conceptualization in fact does not offer any alternative to the public discourse within which the Romani people are perceived as being “fundamentally different”. For this reason we suggest to move attention from the discussions searching for an explanation concerning the otherness of Romani people to the research into the logics of its reproduction within the science. In the text, we focus on the reflexion of the most significant expressions of Romani people’s exoticisation and the related limits within the explanation potential for the understanding of social reality. The Romani people´s otherness, in our opinion, is irreplaceable as the theme for ethnographic research, but only providing the reflexivity of epistemological position, the understanding of otherness as (re)produced by social practice, and the thorough involvement of the broader allsociety context in the entire analysis.

15

Postcolonial theory against neo-Nazism − analysis of discourse. My anthropological dream to publish postcolonial theory and practice handbook for teachers

38%

Piaskowska I.

|

nr 4

309–319

EN

The author deliberates the phenomena of neo-nazism in the Internet in the perspective of postcolonial theory. Her aim is to present how neo-fascists construct the representation of “Other” and deconstruct it. Her field laboratory was ethnically and religiously diversed in the Podlasie region in Poland, where the number of racial and homophobic incidents has increased recently. Then, she present her ethnological dream: to publish “postcolonial theory and practice handbook for teachers”, the goal of which would be to struggle against bias and intolerance. As a result, the author perceives the goal of anthropology in general as applied, engaged in public discourses and an instrument to solve real social problems.

16

Litwo ojczyzno moja… dyskurs kresowy, tożsamość narodowa i głosy podporządkowanych

38%

Ładykowski P.

Pogranicze. Studia Społeczne

|

2014

|

tom 23

83-96

EN

The article tackles Polish history and the issues of Polish ethnic identity from the perspective of postcolonial studies. In particular, it deconstructs the myth of Eastern Kresy, a foundation of Polish identity, embedded in the educational programme of several generations of Poles. The prevailing interpretation of history presents Poland as a victim of imperial and colonial expansion of its historical powerful neighbours. However, the article focuses on Polish colonial aspirations and shows its lost eastern provinces (Kresy), believed to be the Poland’s “lost heart”, from the perspective of their indigenous inhabitants, the subaltern. The polonocentric myth of Kresy is presented as a discursive device shaping not only the ways in which Poles imagine their relations with their current eastern neighbours, but also capable of managing Poles’ internal relations with their minorities.

17

Giacinto Scelsi - homo viator and his musical itinerary

38%

Skupin R.

Interdisciplinary Studies in Musicology

|

2013

|

nr 12

127-148

PL

Giacinto Scelsi was a “traveller to the East”, who tied his life inextricably to creative work. As a composer, he sought a path for the renewal of his own musical language, shaped during his youth under the powerful influence of other composers’ styles. On becoming a homo religiosus, in the Eliadean sense, he found his own path to transcendence through art (creation), deeply inspired by those great traditions of the Orient in which art was a reflection of the artist’s spirituality. The topos of the path is one of the main keys to interpreting Scelsi’s work. His works for large orchestra and choir contain distinct traces of a Scelsian “voyage to the East”. They form one great cycle, integrated by the motif of the path, expressed through meanings added in the content of the individual programme-titles. The cycle’s finale, the eschatological Pfhat (1974), is the musical depiction of a journey that ends with “a clear, primordial light,” symbolising man’s encounter with a higher reality and “great liberation” as the goal of his spiritual path. The chronotope of the path is revealed in the very musical material of his orchestral works: in their quasi-visual soundspace. It is manifest, among other things, in the processual form - one might even say the storyline - and the consistently applied procedure of transforming sonorities, texture and rhythmic structures. A fundamental symbolic function is discharged by various forms of “upwards path”, linked to the dramaturgical role of an upwards motion pattern in the melody and an upwards movement in the tonal-harmonic plan of the orchestral works. The most crucial of all the variants of the motif of the path is the direction “into the core”, that is, towards the “inner space” of the sound. This carries significance both in the dimension of the harmonic spectrum of a sound and also its spiritual depth - the mystical dimension. The journey to the centre acquires the status of an emblematic topos of the Scelsian poetic of the viaggio al centro del suono [journey to the centre of the sound].

18

Traces of the 19th Century Romantic Worldview in Władysław Wężyk’s Egyptian Memoirs,"Travels to the Ancient World"

38%

Janota M.

Folia Orientalia

|

2018

19

André Malraux’s Comparative Theory of Art

38%

Gaižutytė-Filipavičienė Ž.

Dialogue and Universalism

|

2020

|

nr 3

263-280

EN

The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.

20

Caste in the making, dance in the making

38%

Angelillo M.

Cracow Indological Studies

|

2012

|

tom 14

193-213

EN

The present paper is based on fieldwork in Pushkar (Rajasthan) with the Kalbelia caste: traditionally associated with snake charming, it has recently been turning its own musical and dance heritage into a distinguishing feature of Rājasthānī folklore. This paper, through the description of the ethnohistory of Kalbelia dance leads to some considerations concerning the social status of female professional dancers in modern Indian society. The present social status of female professional dancers will be here described as an outcome of the past British colonial presence in India. The analysis will prove how the colonial past continues to haunt the Indian social and cultural present. Besides, through this case study, it will be argued that caste is not the unchanging, historically frozen structure as ethnographic imagination has largely presented it. On the contrary, caste will be considered to be the product of a dynamic balance ruled by economic, ideological and cultural requests.