Browsing by Author "Waligórska-Olejniczak, Beata"
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Item Dramat Dawida H. Hwanga M. Butterly jako dyskusja nad tożsamością Wschodu i Zachodu(Wydawncitwo PIKTOR, 2007) Waligórska-Olejniczak, Beata; Chałacińska-Wiertelak, Halina; Kropaczewski, KrzysztofItem Jestem Bogiem w ciele. Jestem uczuciem w transie. Jestem człowiekiem w transie. Literacki i taneczny zapis choroby Wacława Niżyńskiego(Uniwersytet Opolski, 2010) Waligórska-Olejniczak, Beata; Kodzis, Bronisław; Giej, MariaVaclav Nijinsky’s drawings, which were created during the years 1918-1919 constitute the artistic expression of the illness of the dancing genius, they tell us the story of the psychotic experience of the Russian-Polish ballet master. The fear is merged in them with suspicion and the feeling of insecurity, derived from hallucinations and paranoid perception of the reality. The strangeness and gloom of the drawings is tiring for the viewer as well as the repetitious use of certain demoniac figures and patterns. The artistic, kinetic and literary record of Nijinsky’s psychosis give unlimited opportunities of scientific penetration of his emotions and experiences, which accompanied the years spent in the USA, London and the period of internment in Budapest. The aforementioned sources motive also to consider the question concerning the relationship between the total engagement in the dance and the artist’s illness.Item „Nagie życie” Wieniczki Jerofiejewa, czyli Moskwa-Pietuszki z perspektywy teorii montażu Sergieja Eisensteina(Wydawnictwa Uniwersytetu Warszawskiego, 2011) Waligórska-Olejniczak, BeataThe article is an attempt to conduct a comparative analysis of Venedikt Erofeev’s Moscow-Petushki in the context of Sergei Eisenstein’s theory of montage, which was derived from the combination of montage of attractions, analogies and antitheses. Treating Eisenstein’s experience as the point of reference I focus on the techniques used in Erofeev’s text, whose target are the reactions of the virtual recipient, for example the juxtaposition of apparently unconnected shots in order to shock the reader. My paper turns attention to the use made of various artistic means such as the leitmotif of alcohol consumption exposed in the poem, pauses, counterpoints or manipulation of emotionally intensified episodes.Item Nowe kino rosyjskie wobec tradycji literackiej i filmowej(Uniwersytet im. Adama Mickiewicza w Poznaniu, Instytut Filologii Rosyjskiej i Ukraińskiej, 2017) Waligórska-Olejniczak, Beata; Przybysz, Anna; Królikiewicz, Natalia; Kaźmierczak, Natalia; Bogusz-Tessmar, PaulinaThe monograph entitled New Russian Cinema in View of Literary and Film Tradition consists of 6 basic parts: introduction and 5 chapters, which are devoted to the interpretation of five different films made by acclaimed contemporary directors. Chapter 1 is the attempt of reading the original film Doctor Ragin (2004), made by Kirill Serebrennikov on the basis of Anton Chekhov’s story Chamber no. 6. The aforementioned artist is considered one of the most famous and talented Russian directors, who work both in the domain of theatre and cinematography. In Doctor Ragin he managed to show the illusory side of the difference between a hospital room and the world outside. The main problem of the analyzed work is the history of madness of the whole country, in which there are no clear borders between madhouses and the everyday life of the society which claims to be sane. Chamber no. 6 is shown in the film as the safety option, a kind of “island”, asylum, where a man can protect himself against total madness. The film can be read as the diagnosis of the world which is insane, showing the roots of mental problems, which can be found both in the past and in the present. Chapter 2 tries to answer the question to what extent the problems in Fyodor Dostoyevsky’s novel are still understandable and up-to-date for the contemporary reader. To do so we focus on Menahem Golan’s Crime and Punishment adaptation. Translating the dramatic structure of the novel to the language of film, the director is fixing his attention on the central thought in the novel – hope – which can be associated with the spiritual and moral rebirth of man in the context of cultural and social reevaluation. This realignment ousts the bond with the source of the life-giving power (God) and supersedes the love for the Other from the universal awareness. Through distinctly extended sign-symbolic layer of the film, which sends the spectator beyond visual contexts, the director is trying to fulfil basic aims of the film: giving information, teaching and edifying.Item Pulp Fiction jako encyklopedia pop kultury. Nieustanna filmowa prowokacja Quentina Tarantino w kontekście poetyki komiksu(Katedra Ekokomunikacji UAM, 2011) Waligórska-Olejniczak, BeataItem Rosja oczami ekscentryka, czyli Moskwa-Pietuszki Wieniedikta Jerofiejewa w kontekście mechanizmów reifikacji(2011) Waligórska-Olejniczak, BeataThe article concentrates on the analysis of pathological Soviet reality represented in the lyrical poem Moscow-Petushki from the point of view of the relationship between a human being and an object. The author focuses on the mechanisms of reification utilised in the artistic world of V. Erofeev categorising them as the examples of totalizing, manipulative, practical and neantising types of the above mentioned phenomenon. She turns particular attention to the studies of binary oppositions such as spiritual-corporeal or exposed-hidden, which define logic of the totalitarian system as well as tragism of the human existence in the era of post-modernity.Item Sacrum w drodze. Moskwa-Pietuszki Wieniedikta Jerofiejewa i Pulp Fiction Quentina Taranino w kluczu montażowego czytania(Adam Mickiewicz University Press, 2013) Waligórska-Olejniczak, BeataThe aim of this monograph is the attempt of reading the poem Moscow-Petushki by Venedikt Erofeev and the film Pulp Fiction by Quentin Tarantino using the comparative approach, in which we go beyond the range of factual relationships, historical influences or similarities functioning in the structure of the presented world. The purpose of the book is to see both works of art from the angle of the montage theory of Sergei Eisenstein – the outstanding and highly regarded Russian director and film philosopher – which means studying cultural phenomena in their mutual intertextual relationships. The book focuses on the interpretation of the selected Tarantino’s and Erofeev’s texts of culture, in which the subject of the city, the search for the concept of the body at the end of 20th century and the problem of addictions constitute the dominant thematic issues. The monograph also offers the insight into the nature of the phenomenon of postmodernism and treats Eisenstein’s philosophy as the specific type of anticipation of postmodern tendencies in cinematography.Item Sceniczny gest w sztuce A.P.Czechowa "Mewa" i taniec wyzwolony jako estetyczny kontekst Wielkiej Reformy Teatralnej(Instytut Filologii Rosyjskiej, 2009) Waligórska-Olejniczak, BeataItem Słowo wstępne; Etos piękna w nauce, sztuce i kulturze(Katedra Ekokomunikacji, 2012) Waligórska-Olejniczak, BeataItem "Wartki nurt rzeki" – idee hermeneutyki radykalnej w twórczości Władimira Makanina oraz mikropowieści "Za późno" i "Utrata" Władimira Makanina(Wydawnictwo Rys, 2020) Tyczko, Krzysztof; Waligórska-Olejniczak, Beata; Królikiewicz, Natalia; Tyczko, Krzysztof; Tyczko, KrzysztofW pierwszej części książki autor porównuje twórczość Władimira Makanina z ideami hermeneutyki radykalnej Johna Caputo i Gianni Vattimo. Część druga zawiera tłumaczenia na język polski dwóch mikropowieści Władimira Makanina – „Za późno” (ros. „Отставший”) i „Utrata” (ros. „Утрата”).Item И. Тургенев как протомодернист. Пьеса „Месяц в деревне” в контексте цикла эссе К. Гринберга „Защита модернизма”. Предвестие нового художественного стиля(2011) Waligórska-Olejniczak, BeataClement Greenberg is considered as one of the greatest and most influential American critics of the late 20th century. Understanding modern and postmodern discussions in the world of literature and fine arts seems to be impossible without the profound knowledge of Greenberg's opinions. The aim of the studies in this article is the comparative analysis of I. Turgenev's drama A Month in the Country and fundamental principles of Greenberg's theory of modernism, the attempt to generate the inner relationships between those two works of art. Treating the aforementioned drama as the model piece of Turgenev's dramaturgy we focus on the parametres which build up the openness of the play, emphasise the innovative character of the text in the context of the changes of the Great Theatre Reform. The interpretation of Turgenev's play in the view of global artistic tendencies shows the uniqueness of his work of art. The comparative method of the analysis helps to discover the encoded features which will influence modernist way of thinking, eliminating the differences between the word and other ways of artistic expression.