Images, nr 15-16, 2011
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Item Co to jest medium?(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Kozłowski, KrzysztofAt the beginning the author expresses his opinion that there is a national confusion which nowadays prevails about the nation of medium. His explications, in which he reminds his readers about the indirectness of media communication, are of historical character and expose numerous examples of notional abuse. One of the these states that without defining, in the broadest possible way, the notion of medium, which is a crucial one for media studies, it appears tha any systematic scientific reflection is impossible. As a remedy for the notional confusion, acceptance of the realistic definition of medium which was worked out by Werner Faulstich and based on the theoretical concept of Urlich Saxer („media are systems which solve problems”) is suggested. Therefore, that definition, four dimensions of which define the bases of empirical media studies, means the symbolic „patricide” of the main founder of modern media studies Marshall McLuhan and makes empirical, functional history and theory of the media possible.Item The Uniersal and the Particular: Twin Foci in Holocaust Education(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Brown, MichaelThe Holocaust has pedagogical signicance not only for Jews and for Israel, but perhaps even more so for Christians, Europeans, North Americans, nad others. Its ramifications are especially salient with regard to theology and notions of nationality nad ethnicity. Examples are given from historical and liturgical texts, as well as belles lettres.Item The challenges of Holocaust instruction and remembrance - Particular and universal aspects in formal and informal interdisciplinary curricula in Israel and abroad(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Davidovich, Nitza; Soen, Dan; Hezkelovich, AnatThe present article examines Holocaust instruction in Israel and in France, addressing formal and informal aspects of teaching practices. Specifically, the article examines whether Holocaust instruction constitutes a unifying factor that stresses what is common to human beings, among adolescents at schools in Israel and abroad, or whether it is a continuation of the methodic axis of the general model of the school and its credo. The study was conducted as part of a large-scale project evaluating 20 years of journeys to Poland by Israeli youth. It is based on a qualitative research apporoach that included analysis of interviews with policymakers, representatives of Holocaust institutes and foundations, teachers, students and guides. It also made use of field observations and official documents. The qualitative analysis revealed that that the dominant didactic models in Israel and France differ from one another in the importance that they attribute to universal versus the particular elements. Each of the models was built based on a didactic foundation of educational and teaching activity at the school in general, and Holocaust instruction in particular. The study findings indicate that in general, the Holocaust instruction in Israel continues to emphasize the particular. It serves as a tool for strengthening the unique values of the event, and stresses Israeliness, Zionism, and Jewishness. The climax of the modal is an eight-day journey to Poland, centering on a visit to Auschwitz. In contrast, Holocaust instruction in France emphasizes the universal. The curriculum positions the journey as the climax of the scholastic experience but, unlike the Israeli curriculum, it emphasizes the historical and universal aspects of the Holocaust and represses the singularity of the event in the context of the Jewish people. A comparison of the two countries underlines the substantive differences separating the two different educational systems, which have adopted different sets of values.Item Między słowem a obrazem. Z notatnika reżysera(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Gliński, RobertFor the film director the film is, in a way, “ready” before the shooting. Everything what is important for the film must be planned and worked out before its shooting. The interval between writing the script and the shooting the film is the intensive time of work for the director. He/she must decide what (kind of) movie he/she wants to do. The director must know how to organize the scenes for the shots, how the film should start and end. He/she must know who will play in the film and find a way to inspire the actors. The director prepares the rehearsals. He/she is also supposed to find interiors and exteriors for shooting, write the screenplay and draw the storyboard. The satisfy all these requirements of director has to be not only talented but work hard, be concentrated and persistent. Effects of his/her devotion to film are revealed in how the text of the script is turned into film.Item Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Kaźmierczak, MarekThe reception of the Holocaust in popular culture is like a set of the broken images of the past. There are fluent differences between fiction and reality, beetween texts and facts, between knowledge and ignorance. This article concerns the forms of the influence of poplar culture on the representations of the Holocaust. Broken image can reveal a part of same event, the same fact. There are intellectual and axiological challenges between revealing and abusing the “Auschwitz” in the contemporary texts of culture. There are three main parts of the article: The contexts of the terms, Opened arguments and How instrumentally where are described the mechanisms of reduction, instrumentalization and mediatization of the reception of the Holocaust.Item Tabloidyzacja Holocaustu w kulturze popularnej(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Czaja, JustynaThe text is an attempt to answer the question about the effects of the collision of Holocaust, recognized as a historical fact, with the mechanism of popular culture and how particular aspects of Holocaust, such as sex, violence and death, are used.Item Prawda, prowokacja, propaganda. Obrazy Holocaustu w internetowych serwisach plików video(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Otto, WojciechThe word “Holocaust” functions as a keyword in reading of the contemporary history in the Web services (which contain video files). Very often this word is used in the context of some historical truth which concerns the second world war. There are mainly some newsreels or audiovisual documents which confirm the atrocities of the war. The forms of the provocation are rather rarely. In this perspective the authors want to notice some peculiar problems or phenomenona. Sometimes the word “Holocaust” is used by some communities to support their ideologies (for example in the political background) – and in this context the interpretation of this word exceeds the ethical taboo.Item Metaphorizing the Holocaust: The Ethics for Comparison(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Webber, Mark J.This paper focuses on the ethics of metaphor and other forms of comparison that invoke National Socialism and the Holocaust. It seeks to answer the question: Are there criteria on the basis of which we can judge whether metaphors and associated tropes “use” the Holocaust appropriately? In analyzing the thrust and workings of such comparisons, the paper also seeks to identify and clarify the terminology and concepts that allow productive discussion. In line with its conception of metaphor that is also rhetorical praxis, the paper focuses on specific controversies involving the metaphorization of the Holocaust, primarily in Germany and Austria. The paper develops its argument through the following process. First, it examines the rhetorical/political contexts in which claims of the Holocaust’s comparability (or incomparability) have been raised. Second, it presents a review (and view) of the nature of metaphor, metonymy, and synecdoche. It applies this framework to (a) comparisons of Saddam Hussein with Hitler in Germany in 1991; (b) the controversies surrounding the 2004 poster exhibition “The Holocaust on Your Plate” in Germany and Austria, with particular emphasis on the arguments and decisions in cases before the courts in those countries; and (c) the invocation of “Auschwitz” as metonym and synecdoche. These examples provide the basis for a discussion of the ethics of comparison. In its third and final section the paper argues that metaphor is by nature duplicitous, but that ethical practice involving Holocaust comparisons is possible if one is self-aware and sensitive to the necessity of seeing the “other” as oneself. The ethical framework proposed by the paper provides the basis for evaluationg the specific cases adduced.