Studia Kulturoznawcze, 2012, nr 1(2)
Permanent URI for this collectionhttps://repozytorium.amu.edu.pl/handle/10593/6431
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Item „Przypatruję mu się z daleka, tak jakbym przyglądała się sobie, kiedy byłam chłopcem”. O „dwoistym” ciele Andrzejka(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Szkudlarek, PaulinaOn Andy’s “double” body This paper attempts to analyse the trilogy by Andrzej Czcibor-Piotrowski: Rzeczy nienasycone (1999), Cud w Esfahanie (2001), Nigdy dość. Mirakle (2011) as a literary (and quasi-autobiographical) example of reconsideration of the taboo of child sexuality, and a reclaim of several notions of abjectness, the notions related to the nonnormative body’s expression.Item Ciało chore – pokazujące i pokazywane(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Kościańczuk, MarcelaSick body which represents and is represented A text is an analysis of representations of a mutilated women’s body in contemporary art. Regarding to Édouard Manet’s transgression I deliberate the artworks by his followers: Magdalena Frey, Katarzyna Kozyra, Magda Hueckel and Joe Spence. A matter of viewers’ reception and production of image of mutilation is considered as well as the problem of cultural borders of presentation of abject.Item „Bezwstydne” filmy Dereka Jarmana(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Radkiewicz, MałgorzataShameless cinema of Derek Jarman Derek Jarman is one of the outstanding British artists and filmmakers, who became the crucial figure of the New Queer Cinema at the beginning of the 1990s. In the1980s he was one of the few openly gay public figures, who admitted to be HIV positive and who worked actively to arise the awareness of AIDS. Both in his paintings and film works he addressed the issue of sexuality and queer, challenging the conservative mentality of British society at the age of Thatcherism. Considering queer identity, it is visible that it is shame that precedes the formation of identity, specially nonnormative ones. Shame is defined as performative, as the queer identity is. Analyzing films of Jarman, it is interesting to observe how individuals became shamed because of gender but also how shame facilitates the formation of those individuals in the first place. In my paper I argue that in films of Jarman shame is at the same time an object and a process. Jarman’s characters – and Jarman himself – are as social beings already imbued with shame, but they still are able to become self-reflexive about their relationship with shame and its role in the formation of oneself.Item Potworna kobiecość w potwornym mieście(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Nieszczerzewska, Małgorzata“Monstrous” femininity in “monstrous” city The main inquiry of the article is the relation between modern, “denaturalized” urban space and the femininity which is present and visible in this space. The author pays particular attention to the social dimensions of the “monstrosity” which are found in the space of an industrial metropolis, as well as the “monstrosity” of the prostitute – one of the leading figures of a modern city. A short analysis of the fragments of two famous novels: the classical Nana by Émile Zola and neo-victorian The Crimson Petal and the White by Michael Faber is employed to picture the ambiguity of the problem in question. The way the urban space is experienced by a woman-prostitute who provokes both fascination and repulsion is crucial here.Item Estetyzacja ciała zdeformowanego w działaniach tanecznych z udziałem osób niepełnosprawnych(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Grenda, MagdalenaEsthetician of deformed body in dance performances with the participation of disabled persons This article focus on dance companies and dance groups which integrate performers who are physically and mentally fit and those with disabilities, for example: CandoCo Dance Company, StopGAP Dance Company, Integracyjny Teatr Tańca „Kierunek”. In addition, the dance companies not only do performances but also provide dance instruction, workshops or trainings. These groups are consisted of disabled and nondisabled people actively participate in their performances. The majority of people identify dance as a means of educating the public on talents and capabilities of persons with disabilities in the art of performing. The aim of this article is to present, that disability is not a barrier to creativity.Item Manifestacje Valie Export w perspektywie recepcji miejsc abiektu(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Lipiński, KamilManifestations of Valie Export in the perspective of reception of abjective places The manifestations of Valie Export are analyzed in the light of abject theory of Julia Kristeva as the form to break with the autonomy of modernism through its contextualization in the “expanded field” of public space and widespread conceptual forms proposed by Rosalind Krauss. The works of Valie Export present the social engagement in recycling the clichés of picture tradition and in breaking the tension caused by interpersonal contact with the viewer and participant of her performances. The author discusses the reception of Valie Export’s actions both performed by Marina Abramović in the work taking place in the new spatial context of museum in the static position, and “camped” version of Tapp und Tastkino prepared by Franco and Eve Mattes as a navigation platform in the system Second Life involving her avatar.Item Malarz życia ponowoczesnego. O fotografiach Michaela Wolfa(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Kasperek, EwaThe painter of postmodern life. On Michael Wolf’s photographs The essay presents the work of contemporary German photographer Michael Wolf, acclaimed for his Series of Unfortunate Events originating from Google Street View photos. The recurring motifs of Wolf’s projects discussed in the text include the problem of public voyeurism, a tension between reality and fiction as well as the role of the artist perceived as a copyist/original author.Item Człowiek zamknięty w ciele – intymność i wstręt w powieściach Elfriede Jelinek(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Dłużewska, EmiliaRestrained in a body – intimacy and repulsion in Elfriede Jelinek’s novels. The essay focuses on the work of Austrian writer Elfriede Jelinek and it is an attempt to analyse how is her writing associated both with the concept of “repulsion” and specific gender experiences. Jelinek’s characters are usually women who tend to get involved into extremely abusive relationships, focus on the sexual aspect. This tendency can be viewed as a result of social processes connected with gender such as reducing women to their bodies and refusing them subjectivity – as a result, a physical abuse becomes the only possible way to achieve intimacy. To explain why are the relationships described by Jelinek so extremely repulsive for the reader, the essay refers to regard Julia Kristeva’s theory of abject, basing on primary experience of being absorbed by mother and manifesting itself only through the feeling of repulsion. Women described by Jelinek are repulsive, as they are unable to achieve autonomy and therefore remind us of the fragility of our own individuality.Item Profesor Krystyna Zamiara (1940-2012)(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Urban, OlgaWspomnienie pośmiertne Profesor Krystyny Zamiary (1940-2012), podejmującej w ramach swojej aktywności badawczej wyjątkowo istotne zagadnienia z zakresu filozofii nauki, metodologii nauk humanistycznych, historii psychologii oraz filozofii i teorii kultury.Item Teatr i władza w XVII-wiecznej Francji(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Page, ChristianeTheatre and Authorities in 17th Century France. In her essay prof. Page depicts the complicated and variable relations between several levels of power (Catholic church, municipalities, the king and his court) with people of theatre in France of 17th. The independent theatre companies which emerged in the 16th C. from medieval wandering groups turned out to be a real challenge to the social and political mainstream. It took almost an entire century to subordinate them to the needs and requirements of the monarchy which was slowly becoming the incarnation of absolutism. The last part of the essay is focused on three different images of the king and his power taken from three 17th. C. French dramas: 1) the “king of two bodies”: real flesh and the symbol of a kingdom; 2) a mystical being carrying the “holy gift” of royal blood; 3) a subversive image of “a chief of the theatre company”, whose authority is based on his merits and can be challenged at any time.Item O sposobach posługiwania się stechnicyzowanym ciałem(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Ilnicki, RafałOn the modes of operating of technicized body In this article I have set out the problem of modes of uses by users of culture of technicized body. I have shown that this issue is addressed to everyday use of technologies of networks and programs and also to technicization of reality, which forces distinct modes of using body. In the conclusion I’m proposing a critical reflection on considered problems, which could enforce conscious usage of technical media.Item Między transgresją a normą. O kulturowej potrzebie wstydu(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Pisarek, AdamRecenzja książek: Ewa Kosowska (red.), Wstyd w kulturze, Wydawnictwo „Śląsk”, Katowice 1998, ss. 172; Ewa Kosowska, Galina Kurylenko, Anna Gomóła (red.), Wstyd w kulturze. Kolokwia polsko-białoruskie 2, Wydawnictwo Uniwersytetu Śląskiego, Katowice 2008, ss. 216Item Kolekcjonowanie jako ukulturalnianie(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Łukasiewicz, KrzysztofRecenzja książki: Renata Tańczuk, Ars colligendi. Kolekcjonowanie jako forma aktywności kulturalnej, Wydawnictwo Uniwersytetu Wrocławskiego, Wrocław 2011, ss. 312.Item Sztuka kluczenia, czyli gra włączonego z wykluczonym(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Solik, RyszardThe art of evasing, the game of the included with the exluded The article undertakes the theme of disgust, ugliness and perversion in the context of artistic culture, especially in the context of changes and experimentations within the practice of contemporary art. The analysis shows the variation of these issues and emphasizes that the experience of exclusion” or “inclusion” ugliness, disgust, perversion in the space of art comes from the interplay of many factors, including the practice of interpretation and contextual conditions, and the continued crossing frontiers of art. In other words, beauty is no longer the norm and the principle of determining the value of the work (the object), and the pluralism of contemporary creation is a radical redefinition of the art, opened to any kind of experience.Item Profesor Jerzy Kmita (1931-2012)(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Moraczewski, KrzysztofWspomnienie pośmiertne Profesora Jerzego Kmity (1931-2012), współzałożyciela Instytutu Kulturoznawstwa UAM.Item Karnawał – największe party świata Andrzeja Fidyka jako widowisko pełne kontrastów(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Fiołek-Lubczyńska, BogumiłaIn this documentary A. Fidyk is an anthropologist equipped with a film camera. He presents Rio during the carnival as a space of cultural and social diversity. Rio is visibly replete with social contrasts: the extreme poverty of the homeless exists alongside the luxury of the bicheiros. While some die of poverty – as the film’s narrator states – others die of fear. However, everyone is equal within the cultural dimension of the carnival, during the Samba Schools Parades at the Rio Sambadrome, occurring three days before Ash Wednesday. In his documentary Fidyk depicts a spectacle which is deeply rooted in tradition; as an explorer of culture, he draws the viewer’s attention to this culture’s unifying features.Item Wstrętny świat Michela Houellebecqa(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Bronikowska, AleksandraMichel Houellebecq – provocator and scandalist is in fact conservative. The elementary particles and The possibility of an Island show man’s helplessness towards postcapitalism, the fall of masculation and his yearning for tradition. Abhorrent is not perverse sex described on novels, but human powerlessness. Author shows his own eroticosophy to chart the changes of society after sexual revolution. His diagnosis of human condition is drab.Item Cud miłości – ciało za ciało?(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Doda-Wyszyńska, AgnieszkaAn article analyses a film Breaking the Waves by Lars von Trier in a context of Niclas Luhmann’s semantics of love. According to Luhmann sexuality and intimacy stays in a omitted within frames of existing social order. The author considers also the significance of self-sacrifice in the light of Christianity and romanticism.Item Wstręt a erotyzm. Houellebecqa spojrzenie na miłość(Wydawnictwo Wydziału Nauk Społecznych Uniwersytetu im. Adama Mickiewicza w Poznaniu, 2012) Rychlik, Agata„Erotism plunges human into loneliness” – this is an argument put by Georges Bataille in his book Erotism. Isolation resulting from deceptive carnality accompanies heroes of Michel Houellebecq novels as well. This state leads them to feeling of emptiness and emotional burnout. One of the reasons of this state lies in learned carnality. In Bataille’s conception those modeled behaviour can be refered to things that are not allowed, tabooised and relegated to intimate space. Problems that tire Houellebecq’s heroes end with compulsive behaviours performed by them. Those acts exceed social rules, deepen feeling of alienation and rejection. Men of Houellebecq world can’t name their needs and there for they replace them with needs that are created by consumer society. Fulfillment of those superficial desires unfortunetly doesn’t resolve the problem of isolation, it lingers them into desire that brings with itself repulsion and feelings of guilt.