Poznańskie Studia Slawistyczne, 2012, nr 2

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    Zapach i kolor słów, czyli o próbach intersemiotycznego przekładu i synestezji w utworach Damira Miloša "Smetlar" i "Bijeli klaun"
    (Wydawnictwo Naukowe UAM, 2012) Szperlik, Ewa
    The aim of the intersemiotic and conceptual prose of Damir Miloš is to overcome the limitations of language and literary description, especially when presenting reality through the prism of sensual experience, both visual and olfactory. In Miloš’s prose the interconnectedness of art forms, often perceived today as a symptom of a literary crisis or a trend towards intermediality, becomes a special and convenient pretext to use intersemiotic translation, visuality and synaesthesia as a means of presenting sensuality in literature. The Croatian author creates a world in which his protagonists, marked with certain incapacities or hypersensitivity of senses (an absolute sense of smell, colour-blindness or blindness), conjure up their own individual and subjective reality. Thus, Miloš stresses the postmodern aspect of the multiplicity of truths and perspectives.
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    Visual folklore: relation between oral and visual memory
    (Wydawnictwo Naukowe UAM, 2012) Stojanovik', Lidija
    The aim of this article is to present how oral biography and photo-interviews are intertwined. In this sense, it is very important to illustrate the various methods of photo fieldwork, and also to highlight theoretical concepts (such as those of Panofsky, Collier and Barthes) in order to discover photo-analysis, the relation between oral and visual memory, and the phenomenological play between stadium and punctum. These principles are very important and useful in contemporary folklore studies.
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    Proximity/distance at the meeting on “the other side”
    (Wydawnictwo Naukowe UAM, 2012) Petreska, Vesna
    Folk healers and their ability to heal can be connected with death or the being owned by death. This deeply archaic structure is evident in how knowledge is acquired, namely that it is passed on from mother to daughter or granddaughter/grandson in a place that suggests a connection to the other world (water, bridge). It is also evident in the fact that the women performing charms must be postmenopausal. Also important is the fact that when knowledge is acquired through dreams and visions, the soul of the initiate or the initiate him- or herself must be in touch with the other world and then return to life by passing over a thin line: a bridge as wide as a hair or a straw. This is a condition akin to death followed by eventual recuperation. Another important point is the difference in physical appearance to those treated, for example, old, white, a pale face, piercing eyes, small, slouching, etc. All these incorporate the idea that the communication with the “other world”, “the other side”, is always given to those people that somehow were in touch with the other world, which from that perspective are far from us, but originating from our environment and transferring the message that they are also close to us. The connection with the other side, with the other, distanced world was also seen in the time-space structure on the charms.
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    "Brzoza" – filmowy "Gesamtkunstwerk" Ante Babai
    (Wydawnictwo Naukowe UAM, 2012) Pająk, Patrycjusz
    The Birch Tree (1967), directed by Ante Babaja, is one of the most outstanding achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko Kolar’s rural prose, naive paintings by artists from Hlebine and north Croatian folk rites and songs. In this film, Babaja presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material and inert nature. The Birch Tree is also an example of a film Gesamtkunstwerk that combines notonly the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk.
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    Intermediality in Macedonian theatre
    (Wydawnictwo Naukowe UAM, 2012) Petrovska-Kuzmanova, Katerina
    In the text Intermediality in Macedonian theatre, which uses the play Macedonian bloody wedding by Vojdan Chernodrinski, directed by Ljupco Gorgievski, as an example, an attempt is made at representing intermediality in theatrical performance. It is achieved through a ready-made technique in which a significant role is played by the music group Foltin and their performance. They use various props, which they turn into their instruments. This leads to their actualization through dedication to their essence. In this way, the old forms and elements of the traditional folk culture cross the bounds of time, reading the folklore signs in the style of the postmodern scene expressions.