Przestrzenie Teorii https://pressto.amu.edu.pl/index.php/pt <p class="oczasopismie"><strong>OPIS CZASOPISMA</strong><br>„Przestrzenie Teorii" – czasopismo teoretycznoliterackie powstałe w 2002 roku na Wydziale Filologii Polskiej i Klasycznej UAM w Poznaniu jest redagowane i rozwijane we współpracy z Wydziałem Polonistyki Uniwersytetu Jagiellońskiego w Krakowie. "Przestrzenie Teorii" ukazywały się jako rocznik, a od 2007 są półrocznikiem wydawanym przez Wydawnictwo Naukowe UAM w Poznaniu. Pismo jest recenzowane, ma zasięg ogólnopolski, wzbudza również zainteresowanie w uniwersyteckich ośrodkach zagranicznych. Każdy artykuł poprzedza abstrakt w języku angielskim. Pismo skupia autorów z wielu uczelni polskich i zagranicznych, prezentuje też tłumaczenia wybitnych literaturoznawców obcych. Pismo podejmuje i przedstawia kluczowe problemy współczesnej teorii literatury. Stwarza płaszczyznę dialogu naukowego, w którym kontrowersje, spory i komplementarność głosów kształtują i odzwierciedlają świadomość naukową i artystyczną. Prezentuje teksty w różnorodnych metodologiach poruszające problemy zarówno estetyki, jak i poetyki, pokazujące obszary filozofii i przestrzeni fizyki, obejmujące pola teatru i filmu, a także dramatu, plastyki i muzyki, które oświetlają się wzajemnie, korespondują ze sobą lub ujawniają sprzeczności. Pismo ma charakter transdyscyplinarny, uczestniczy we współczesnych dyskusjach z zakresu filozofii nauki, realizuje w swoich założeniach model wielogłosowego, dramaturgicznego literaturoznawstwa. Dramaturgię pisma współtworzą artykuły ułożone w działy: rozprawy, interpretacje, prezentacje, przekłady, recenzje. "Przestrzenie Teorii" przedstawiając interesującą panoramę współczesnych sposobów myślenia, stają się wielowymiarową przestrzenią ponowoczesnej wypowiedzi naukowej, a teoria nie ogranicza się do samej tylko literatury, ale otwiera na rozległe obszary kultury i sztuki.</p> <ul class="oczasopismie"> <li class="show"><a href="/index.php/pt/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="/index.php/pt/issue/current">AKTUALNY NUMER</a></li> <li class="show"><a href="/index.php/pt/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p>SCOPUS, DOAJ, ERIH; ERIH Plus; CEJSH; Index Copernicus; CEEOL; PKP Index; Google Scholar; WorldCat</p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong> <p><br><strong>MNiSW</strong>: <strong>70 punktów</strong></p> <p><strong>Index Copernicus Value ICV: 2019 = 105.32</strong></p> <p><strong><strong>h5-index: 2&nbsp;</strong></strong></p> <p><br><a title="SCImago Journal &amp; Country Rank" href="http://www.scimagojr.com/journalsearch.php?q=21100777205&amp;tip=sid&amp;exact=no"><img src="http://www.scimagojr.com/journal_img.php?id=21100777205" alt="SCImago Journal &amp; Country Rank" border="0"></a></p> </div> <div class="oczasopismie"><strong>DOI: </strong>10.14746/pt</div> <div class="oczasopismie"><strong>ISSN (Print): </strong>1644-6763&nbsp;<strong>ISSN (Online):&nbsp;</strong>2450-5765</div> <div class="oczasopismie"><strong>Prace publikowane w czasopiśmie od nr 24 2015 r. dostępne są na&nbsp;<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">licencji Creative Commons Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0&nbsp;</a></strong></div> <div class="oczasopismie"><strong><img src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License"></strong></div> <div class="oczasopismie"><strong>&nbsp;</strong></div> <div class="oczasopismie">&nbsp;</div> Adam Mickiewicz University Poznan pl-PL Przestrzenie Teorii 1644-6763 <p><strong>Autorzy</strong><br />Autorzy tekstów przyjętych do publikacji w czasopiśmie „Przestrzeniach Teorii” są zobowiązani do wypełnienia, podpisania i odesłania na adres redakcji <a href="/ojs_3/pliki/umowa_autorska.doc" target="_self">umowy</a> o udzielenie nieodpłatnej licencji do utworów, z zobowiązaniem do udzielania sublicencji CC.<br /><br />Zgodnie z umową, autorzy tekstów opublikowanych w czasopiśmie „Przestrzeniach Teorii” udzielają Uniwersytetowi im. Adama Mickiewicza w Poznaniu niewyłącznej i nieodpłatnej licencji oraz zezwalą na użycie sublicencji Creative Commons <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" target="_self">Attribution-NonCommercial-NoDerivatives 4.0 International</a> (CC BY-NC-ND 4.0).<br /><br />Autorzy zachowują prawa do dalszego, swobodnego rozporządzania utworem.<br /><br />Autorzy, którzy wykorzystują w swoim tekście cudze utwory (np. ilustracje, fotografie) proszeni są o dostarczenie do redakcji czasopisma <a href="/ojs_3/pliki/images/umowa_cudz.doc" target="_self">zgodę</a> na publikację od uprawnionych podmiotów.</p><p><strong>Użytkownicy</strong><br />Zainteresowani użytkownicy internetu uprawnieni są do korzystania z utworów opublikowanych po 2015 roku „Przestrzeniach Teorii” tylko w calach niekomercyjnych, pod następującymi warunkami:</p><ul><li>uznanie autorstwa - obowiązek podania wraz z rozpowszechnionym utworem, informacji, o autorstwie, tytule, źródle (odnośniki do oryginalnego utworu, DOI) oraz samej licencji;</li><li>bez tworzenia utworów zależnych - utwór musi być zachowany w oryginalnej postaci, nie można bez zgody twórcy rozpowszechniać np. tłumaczeń, opracowań.</li></ul><p>Do wszystkich tekstów opublikowanych przed 2015 r. prawa autorskie są zastrzeżone.</p><p><strong>Inne</strong><br />Uniwersytet im. Adama Mickiewicza w Poznaniu zachowuje prawo do czasopisma jako całości (układ, forma graficzna, tytuł, projekt okładki, logo itp.).</p> Spis treści https://pressto.amu.edu.pl/index.php/pt/article/view/22523 . . Copyright (c) 2019 http://creativecommons.org/licenses/by-nd/4.0 2019-03-15 2019-03-15 32 1 6 Splątane światy literatury i filmu https://pressto.amu.edu.pl/index.php/pt/article/view/22524 <p>Krajewska Anna, Splątane światy literatury i filmu [The Entangled Worlds of Literature and Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 7–12. ISSN 1644-6763. DOI 10.14746/pt.2019.32.0.</p> <p><br>In view of the relations between literature and film, the article contains suggestions for ways to use performative approaches, which preclude concepts of adaptation, in favour of processes defining actions involving the entanglement of the arts.</p> Anna Krajewska Copyright (c) 2019 http://creativecommons.org/licenses/by-nd/4.0 2019-03-15 2019-03-15 32 7 14 10.14746/pt.2019.32.0 Aktorzy i Szekspir. O pewnym motywie w polskim filmie https://pressto.amu.edu.pl/index.php/pt/article/view/22526 <p>Jazdon Mikołaj, Aktorzy i Szekspir. O pewnym motywie w polskim filmie [Actors and Shakespeare or About a Certain Motif in Polish Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 15–44. ISSN 1644-6763. DOI 10.14746/pt.2019.32.1.</p> <p><br>This article deals with various references to William Shakespeare’s plays in Polish postwar films, both theatrical and television ones. There are no Polish film adaptations of Shakespeare’s works except for television dramas made for the Television Theater on state TV. There are, however, Polish films (mainly from 1962–1989) about actors and performing arts with fragments and motifs from Shakespeare plays. Their characters are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead.</p> Mikołaj Jazdon Copyright (c) 2019 http://creativecommons.org/licenses/by-nd/4.0 2019-03-15 2019-03-15 32 15 44 10.14746/pt.2019.32.1 Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy Luchina Viscontiego https://pressto.amu.edu.pl/index.php/pt/article/view/22528 <p>Igielska Anna, Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy LuchinaViscontiego [The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 45–75. ISSN 1644-6763. DOI 10.14746/pt.2019.32.2.</p> <p><br>The article (of an analytical and interpretative nature) is devoted to the literary background of Luchino Visconti’s Vaghe stelle dell’Orsa (1965). The author studies in detail the links to three works, which form, as she claims, the primary points of literary references. What the article discusses, apart from the myth of Electra and Gabriele D’Annunzio’s novel Forse che si, forse che no (1910), are Richard Wagner’s music drama Die Walküre (1870) – absent so far in the Viscontian literature concerning the said movie – and Thomas Mann’s novella Wälsungenblut (1905/1958), which argues with Wagner’s work in a parodistic manner. By demonstrating how Visconti (1) transposes the literary allusions, (2) combines them into an overall structure, and (3) uses them on the plot level to encode the topic of brother- sister incest, the author comes to the conclusion that what we have here is a story in the form of a riddle, which Visconti dubbed for his own use a “crime movie unlike any other”. That riddle appears as a settlement with a romantic myth of love and carries on the poetics of philosophical ambivalence, so proper to Visconti.</p> Anna Igielska Copyright (c) 2019 http://creativecommons.org/licenses/by-nd/4.0 2019-03-15 2019-03-15 32 45 75 10.14746/pt.2019.32.2 Wiersz o jesieni. O Frantzu François Ozona https://pressto.amu.edu.pl/index.php/pt/article/view/22549 <p>Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3.</p> <p><br>The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did not<br>limit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestar<br>for guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.</p> Krzysztof Kozłowski Copyright (c) 2019 2019-03-15 2019-03-15 32 77 92 10.14746/pt.2019.32.3. „Frank, ciągle tam jesteś?”. O listach i książkach w filmie 84 Charing Cross Road (1987) https://pressto.amu.edu.pl/index.php/pt/article/view/22553 <p>Pławuszewski Piotr, „Frank, ciągle tam jesteś?”. O listach i książkach w filmie 84 Charing Cross Road (1987) [“Frank, you still there?”. On books and letters in David Jones’ 84 Charing Cross Road (1987)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 93–114. ISSN 1644-6763. DOI 10.14746/pt.2019.32.4.</p> <p><br>84 Charing Cross Road (1987, dir. by David Jones) is the story of 20-year-long (1949–1969) correspondence between the American writer Helene Hanff and London antiquarian Frank Doel. The letters (edited and prepared for printing by Hanff) were published under the same title in 1970. This article is a precise analysis of the film work, particularly in the context of the two most important elements of its narrative and semantic plane (excluding the strictly historical introductory part). The first is a letter, understood mainly in its artistic function, the second, a book, both as a material object and a medium of literary content. Treating the epistolary material with ingenuity worthy of respect, the filmmakers managed to create one of the most convincing images of literary culture in the history of cinema, albeit one rather forgotten nowadays.</p> Piotr Pławuszewski Copyright (c) 2019 32 93 114 10.14746/pt.2019.32.4 Niechciana obecność autora – filmowy przypadek Václava Havla https://pressto.amu.edu.pl/index.php/pt/article/view/22555 <p>Guzek Mariusz, Niechciana obecność autora – filmowy przypadek Václava Havla [The Unwanted Presence of the Author – Václav Havel in Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 115–128. ISSN 1644-6763. DOI 10.14746/pt.2019.32.5.</p> <p><br>Václav Havel had his views on film, participated in the life of the new wave artist community, had walk-on parts, wrote screenplays, and at the end of his life, made one picture based on his own stage drama Leaving. For Havel, film was a part of a larger cultural challenge, appointed by the Central European character of the second half of the 20th century. In his plays and essays, he discussed the topics of enslavement, lies and resistance to these, constructing a kind of antinomical model of self-power. Repeatedly, the starting point of his work was the Czech reflections included in the theoretical texts of Jan Ivo Osolsobě or the aesthetic manifestos of Karel Teige. As a film director, he created a show of allusions, absurdity and exaggerations, by entering the entire catalogue of experiences, thoughts and techniques of being a “citizen of culture” into diagetic meaning.</p> Mariusz Guzek Copyright (c) 2019 32 115 128 10.14746/pt.2019.32.5 Kilka refleksji o Rashomonie https://pressto.amu.edu.pl/index.php/pt/article/view/22556 <p>Hendrykowski Marek, Kilka refleksji o Rashomonie [A few Reflections on Rashomon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 129–141. ISSN 1644-6763. DOI 10.14746/pt.2019.32.6.</p> <p><br>A masterpiece of Japanese and world cinema, Akira Kurosawa’s Rashomon (1950) refers to a new model of narration in film, and broadens horizons in mid-20th-century film but also film in current imes. Rashomon set out new paths and fields of exploration in film art and began a new era in modern narration in moving pictures. This study re-evaluates Kurosawa’s work as an innovative, trans-national and trans-cultural approach to world cinema.</p> Marek Hendrykowski Copyright (c) 2019 32 129 141 10.14746/pt.2019.32.6 Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach https://pressto.amu.edu.pl/index.php/pt/article/view/22564 <p>Mazur Daria, Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach [Between Suppression and Authenticity. The Metaphor of Don Carlos in Leontine Sagan’s Movie Mädchen in Uniform]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 143–166. ISSN 1644-6763. DOI 10.14746/pt.2019.32.7.</p> <p><br>The article is a comprehensive analysis of the intertextual references to Frederick Schiller’s tragedy Don Carlos in Leontine Sagan’s movie Girls in Uniform (Mädchen in Uniform, 1931). The author considers the complex circumstances of the cooperation between the director and the artistic director, Carl Froelich, during the production. Moreover, she also presents the literary basis for the movie, namely the tragedy by Christy Winsloe (Gestern und Heute – Yesterday and Today).<br>On this basis, the author analyses the multilevel presence of two phenomena in the movie: suppression and authenticity, which are related to the metaphor of Don Carlos and the plot of love between two women. The contexts for the analysis are inspired by research in the anthropology of romanticism, psychoanalysis, the psychology of sexual identity, and research on the works of Frederick Schiller.</p> Daria Mazur Copyright (c) 2019 32 143 166 10.14746/pt.2019.32.7 O szczególnych powinowactwach literatury i kina w refleksji Stefanii Zahorskiej https://pressto.amu.edu.pl/index.php/pt/article/view/22565 <p>Hendrykowska Małgorzata, O szczególnych powinowactwach literatury i kina w refleksji Stefanii Zahorskiej [Particular Affinities between Literature and Film in Stefania Zahorska’s Reflections]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 167–178. ISSN 1644-6763. DOI 10.14746/pt.2019.32.8.</p> <p><br>The author provides an in-depth analysis of and original essay written by the Polish film critic Stefania Zahorska in the middle of the 1930s. The essay deals with socio-cultural and aesthetic theory regarding the mutual connections between cinema and literature.</p> Małgorzata Hendrykowska Copyright (c) 2019 32 167 178 10.14746/pt.2019.32.8 Cyborgi – literacko-filmowe figury dyskursu interaktywnego https://pressto.amu.edu.pl/index.php/pt/article/view/22566 <p>Gajewska Grażyna, Cyborgi – literacko-filmowe figury dyskursu interaktywnego [Cyborgs – Literary and Film Figures of Interactive Discourse]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 179–196. ISSN 1644-6763. DOI 10.14746/pt.2019.32.9.</p> <p><br>The author analyzes the figure of the cyborg in science fiction literature and film. The text begins by showing this kind of literary work in the theoretical field and presents it as an interactive discourse. The author describes the scientific roots of constructing a human-technical hybrid, emphasizing the ideological and political context of this research. In this approach, the cyborg appears as a participant in and also a hostage of the Cold War. Next, the author finds literary and film creations of cyborgs inspired by this political and military heritage. The article also presents alternative images of cyborgs co-creating a feminist and postcolonial discourse. They were also included in specific policies and strategies aimed at deconstructing concepts such as sex and gender, sexuality, race, nation, social class. The main thesis of the article is that as fictitious and real entities, cyborgs are prone to ideologization and burdened with the obligation to politicize. Therefore, when studying cyborgs in literature, film and comics, we must ask what ideologies and politicians they serve.</p> Grażyna Gajewska Copyright (c) 2019 32 179 196 10.14746/pt.2019.32.9 Inne miejsca – filmowe obrazy antykwariatu jako heterotopie https://pressto.amu.edu.pl/index.php/pt/article/view/22575 <p>Górecka Ewa, Inne miejsca – filmowe obrazy antykwariatu jako heterotopie [Other Places: Cinematic Images of Antiquarian Bookshops as Heterotopias]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 197–211. ISSN 1644-6763. DOI 10.14746/pt.2019.32.10.</p> <p><br>An antiquarian bookshop is a compelling site in the space of culture. Its history and its dense network of associations with an array of other cultural phenomena (e.g. fetishism, collecting, the rise and roles of libraries and museums, to name but a few) have long captivated creative practitioners – writers, painters and film-makers. 84 Charing Cross Road by D.H. Jones, The Ninth Gate by R. Polański and Antykwariat (The Second-Hand Bookstore) by M. Cuske are films in which antiquarian bookshops are appointed similarly central roles, but which at the same time differ from each other generically, each of them being a generic hybrid. In their cinematic renderings, the antiquarian bookshops appear as heterotopias in the sense proposed by Michel Foucault. The representations of the antiquarian bookshop revolve around its otherness vis-à-vis their surroundings, and frame it as unique, functionally variable within culture (a trading venue vs. a meeting point; a trading venue vs. a microcosm) and time-accumulating (heterochrony). Though generically disparate, the cinematic images of the antiquarian bookshop are all intimately embedded in Western culture. </p> Ewa Górecka Copyright (c) 2019 32 197–211 197–211 10.14746/pt.2019.32.10 Biblioteki i bibliotekarze w przestrzeni filmowej (reprezentacje i konotacje) https://pressto.amu.edu.pl/index.php/pt/article/view/22576 <p>Gierszewska Barbara Lena, Biblioteki i bibliotekarze w przestrzeni filmowej (reprezentacje i konotacje) [Libraries and Librarians in the Film Space (Representations and Connotations)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 213–238. ISSN 1644-6763. DOI 10.14746/pt.2019.32.11.</p> <p><br>Using selected films, a picture of library buildings and their interiors from the 1950s to the present day has been created. The vast majority of libraries are “temples of knowledge”, and librarians (invariably educated and relatively unattractive women) are the “guardians” of the collections. Contemporary film rarely depicts shows libraries as a system not to be overestimated “in the times of smart phones and social media”. Filmmakers’ attention is drawn mainly the interesting architecture of library interiors to, in which “library scenes” are set, hence the aura of library is seldom perceptible. Książnice is often the backdrop or part of the story told in the film, and sometimes reveal other features such as the genre and other books important to the characters.</p> Barbara Lena Gierszewska Copyright (c) 2019 32 213 238 10.14746/pt.2019.32.11 Człowiek kultury druku w świecie przyszłości – kino science fiction wobec teorii środków przekazu Marshalla McLuhana https://pressto.amu.edu.pl/index.php/pt/article/view/22577 <p>Kowalczyk Marcin, Człowiek kultury druku w świecie przyszłości – kino science fiction wobec teorii środków przekazu Marshalla McLuhana [Man of Print Culture in the Future World – Science Fiction Cinema and Marshall McLuhan’s Media Theory]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 239–255. ISSN 1644-6763. DOI 10.14746/pt.2019.32.12.</p> <p><br>This article shows the way of presenting the characters who represent print culture in science fiction cinema. All the printed artifacts, like literature, books and letters, are defined according to Marshall McLuhan’s media theory. The analysis is based mostly on the movie Her (dir. Spike Jonze, 2013) and discusses how SF movies adapt and transform the twentieth-century predictions concerning print as a medium. This approach allows us to avoid a simple interpretation of the problem, where books or print become merely a sign of civilization that has passed. Furthermore, McLuhan’s theory helps effectively reveal the complex motivations of the characters who are shaped by a specific medium.</p> Marcin Kowalczyk Copyright (c) 2019 32 239 255 10.14746/pt.2019.32.12 Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach https://pressto.amu.edu.pl/index.php/pt/article/view/22578 <p>Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13.</p> <p><br>The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966<br>version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.</p> Arkadiusz Lewicki Copyright (c) 2019 32 257 272 10.14746/pt.2019.32.13 O-bi, o-ba: Koniec cywilizacji – postpiśmienny świat Piotra Szulkina https://pressto.amu.edu.pl/index.php/pt/article/view/22579 <p>Pietrzak Maciej, O-bi, o-ba: Koniec cywilizacji – postpiśmienny świat Piotra Szulkina [O-Bi, O-Ba: The End of Civilization – The Postliterate World of Piotr Szulkin]. „Przestrzenie Teorii” nr 32. Poznań 2019, Adam Mickiewicz University Press, pp. 273–284. ISSN 1644-6763. DOI 10.14746/pt.2019.32.14.</p> <p><br>Piotr Szulkin made his mark in the history of cinema primarily as the author of disturbing visions of the future. His four films made between 1979 and 1985 comprised the science-fiction tetralogy, which is still one of the greatest artistic achievements of this genre in Polish cinema. The subject of the article is the third production of Szulkin’s series – the post-apocalyptic film O-Bi, O-Ba: The End of Civilization from 1984. In the film, the director creates a suggestive vision of a world destroyed as a result of nuclear conflict, in which the original functions of literature and the written word are forgotten. The author article analyzes the way in which forsaken literary artifacts are used in the post-literary reality of the film. An important element of his considerations is also the post-apocalyptic reception of the biblical text, on whose elements the mythology of the film’s world is based.</p> Maciej Pietrzak Copyright (c) 2019 32 273 284 10.14746/pt.2019.32.14 Czytanie poety – widzenie poezji. O Wojaczku Lecha Majewskiego https://pressto.amu.edu.pl/index.php/pt/article/view/22585 <p>Otto Wojciech, Czytanie poety – widzenie poezji. O Wojaczku Lecha Majewskiego [Reading a Poet – Seeing Poetry. On Wojaczek by Lech Majewski]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 285–300. ISSN 1644-6763. DOI 10.14746/pt.2019.32.15.</p> <p><br>The film chronicles the last days in the life of Rafał Wojaczek, who committed suicide at the age of 26. This is the director’s vision that reflects the spirit and character of an artistic genius and his poetic work. Wojaczek is presented against the background of the grey, dirty and bleak communist reality of the late 1960s and early 1970s and therefore becomes a symbol of a rebellious artist, not reconciled with the world and with himself. His colourful character and no less impressive works<br>shown in the film create the image of an artist whose life led in a straight line and with absolute consistency towards self-destruction. By showing the poet’s rebellion against reality, the director describes the artist’s self-destruction that headed for a tragic end. The is a black and white film with many experimental form treatments.</p> Wojciech Otto Copyright (c) 2019 32 285 300 10.14746/pt.2019.32.15 Filmowe wcielenia Krzysztofa Kamila Baczyńskiego https://pressto.amu.edu.pl/index.php/pt/article/view/22586 <p>Szpulak Andrzej, Filmowe wcielenia Krzysztofa Kamila Baczyńskiego [Film Incarnations of Krzysztof Kamil Baczyński]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 301–322. ISSN 1644-6763. DOI 10.14746/pt.2019.32.16.</p> <p><br>The text concerns two film biographies of Krzysztof Kamil Baczyński, an outstanding and legendary poet of the Second World War killed in 1944 during the Warsaw Uprising. The films Fourth Day by Ludmiła Niedbalska (1984) and Baczyński by Konrad Piwowarski (2013) were subject to a comparative analysis. It covered genaelogical issues, the poet’s biography and a presentation of his work. The analysis shows the extreme difference in creative concepts, and thus the various possibilities that the biographical film faces.</p> Andrzej Szpulak Copyright (c) 2019 32 301 322 10.14746/pt.2019.32.16 Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira https://pressto.amu.edu.pl/index.php/pt/article/view/22587 <p>Śliwińska Anna, Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira [Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 323–339. ISSN 1644-6763. DOI 10.14746/pt.2019.32.17.</p> <p><br>The article focuses on two productions (the TV series Upstart Crow and the feature film Shakespeare in Love), which present the life of the famous playwright in an unusual way. It also looks at matters related to the practice of writing biographies of famous people, as well as biographism, which is treated by the makers of the aforementioned productions in a deceptive and hypothetical way. Finally, the question is asked regarding the function of deception and mystification, which were consciously used in the process of creating Shakespeare’s biographies in the two examples analysed.</p> Anna Śliwińska Copyright (c) 2019 32 323 339 10.14746/pt.2019.32.17 Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta https://pressto.amu.edu.pl/index.php/pt/article/view/22551 <p>Pilawska Roksana, Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta [Dirty (un)Romantic story. An Analysis of Aesthetic Aspects in the Film Adaptation of Pride and Prejudice Directed by Joe Wright]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 417–431. ISSN 1644-6763. DOI 10.14746/pt.2019.32.23.</p> <p>The aim of my study is to attempt a comparative analysis of the two most famous film adaptations of the bestselling novel by Jane Austen, Pride and Prejudice. As research material, I chose the mini-series produced by the BBC in 1995, which was part of the then popular trend of heritage films (heritage cinema) and the feature film from 2005, directed by Joe Wright, which, in the opinion of film experts, was a completely new form of audiovisual presentation of Austen’s work. In the article, I focus only on interpreting the aesthetic aspects of both productions, which would indicate similarities and differences, thus showing numerous shifts of emphasis in the aesthetic layer of the newer version.</p> Roksana Pilawska Copyright (c) 2019 2019-03-15 2019-03-15 32 417–431 417–431 10.14746/pt.2019.32.23 Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda https://pressto.amu.edu.pl/index.php/pt/article/view/22554 <p>Rojek Patrycja, Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda [Aesthetic Concretization in Tom Ford’s Nocturnal Animals (2016)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 401–416. ISSN 1644-6763. DOI 10.14746/pt.2019.32.22.</p> <p>The subject of Austin Wright’s novel Tony and Susan (published in 1993) is the reader’s experience. The peculiar relationship that forms between the main female character - a reader of literary fiction – and the novel itself as well as its author, inspired in 2016 Tom Ford to capture the specifics of the same relationships using the language of moving images. This article presents the effects of studying the complex system of communication situations occurring in the novel and its film adaptation: each of them contains an additional story around which further author-reader relationships are formed. The analysis shows that a significant part of the film’s plot is not a direct insight into the novel, but its concretization projected by a female protagonist. Tom Ford’s film is therefore considered in relation to Roman Ingarden’s theory on aesthetic concretization.</p> Patrycja Rojek Copyright (c) 2019 2019-03-15 2019-03-15 32 401–416 401–416 10.14746/pt.2019.32.22 O atrofii kultury literackiej. Uwagi na przykładzie semiotycznych i rzeczowych funkcji książek w filmie Sara https://pressto.amu.edu.pl/index.php/pt/article/view/22558 <p>Kaźmierczak Marek, O atrofii kultury literackiej. Uwagi na przykładzie semiotycznych i rzeczowych funkcji książek w filmie Sara [Atrophy of Literature. Remarks about the Semiotic Functions of Books in the Film Sara]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 383–400. ISSN 1644-6763. DOI 10.14746/pt.2019.32.21.</p> <p>The article concerns the relations between the main character of the film Sara (directed by M. Ślesicki in 1997) and books (especially Dostoyevsky’s Crime and Punishment) in the context of social and political changes in Poland in the 1990s. The presence of books in popular Polish films from that period is not described in research, hence this article provides a short introduction to this subject. The main hypothesis of the paper is that the presence of books on the margins of narration in popular films reflects social changes in thinking about literature.</p> Marek Kaźmierczak Copyright (c) 2019 2019-03-15 2019-03-15 32 383–400 383–400 10.14746/pt.2019.32.21 Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a https://pressto.amu.edu.pl/index.php/pt/article/view/22559 <p>Zwierzchowski Piotr, Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a [The Cinema and Two Types of Readers. About Michael Grandage’s Genius]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 371–381. ISSN 1644-6763. DOI 10.14746/pt.2019.32.20.</p> <p>In Genius (2016) by Michael Grandage books are present in many ways. The main characters are William ‘Max’ Perkins, an editor of the Charles Scribner’s Sons publishing house and Thomas Wolfe, a writer starting out at the time. The film is concerned with their relationship and the creation of the novel. The book functions as both a work and an artefact (also as typescript). Literature is a conversation topic and a way of living. One of the most important spaces is the publishing house building. Piotr Zwierzchowski, however, analyses Genius primarily as a contribution to reflections on the act of reading and its film visualization, referring to the distinction introduced by Alberto Manguel<br>(modelled on Barthes’ écrivain and écrivant) between the reader as someone who reads “with no ulterior motive” and one “for whom the text is a vehicle towards another function”.</p> Piotr Zwierzchowski Copyright (c) 2019 2019-03-15 2019-03-15 32 371–381 371–381 10.14746/pt.2019.32.20 Poeta narysowany – o puszkinowskiej trylogii Andrieja Chrżanowskiego https://pressto.amu.edu.pl/index.php/pt/article/view/22561 <p>Czaja Justyna, Poeta narysowany – o puszkinowskiej trylogii Andrieja Chrżanowskiego [A Drawn Poet – about Andrei Khrzhanovsky’s A Pushkin Trilogy]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 357–370. ISSN 1644-6763. DOI 10.14746/ pt.2019.32.19.</p> <p>The subject of the article is an animated film A Pushkin Trilogy directed by Andrei Khrzhanovsky, dedicated to Alexander Pushkin. It comprises the films: Ya k vam lechu vospominanem, I s vami snova ya and Osen. The article attempts to answer the question about the reasons for the director’s interest in this outstanding writer and his work. It also shows the evolution of the ‘Pushkin theme’ in Khrzhanovsky’s work, changes in the content and formalism, and artistic research that led to the creation of the original animated trilogy. The poetics of the work are analyzed, in which the director looks at the work of the Russian writer through the prism of his manuscripts and sketches, while at the same time expanding the formula of the biographical film.</p> Justyna Czaja Copyright (c) 2019 2019-03-15 2019-03-15 32 357–370 357–370 10.14746/pt.2019.32.19 Portret młodego pisarza oraz nawiązania do twórczości Antona Czechowa w Dzikiej gruszy Nuriego Bilge Ceylana https://pressto.amu.edu.pl/index.php/pt/article/view/22563 <p>Domalewski Adam, Portret młodego pisarza oraz nawiązania do twórczości Antona Czechowa w Dzikiej gruszy Nuriego Bilge Ceylana [Portrait of a Young Writer and References to European Literature in Nuri Bilge Ceylan’s The Wild Pear Tree]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 343–355. ISSN 1644-6763. DOI 10.14746/pt.2019.32.18.</p> <p>The article focuses on topics related to literature, especially to the works of Anton Chekhov, in the latest film by Nuri Bilge Ceylan The Wild Pear Tree. Its main character, Sinan, is a young writer, while the film is set in the province of Çanakkale, where ancient Troy was located. The analysis of the picture shows that the director refers to the historicity of the myth of the Trojan War with distrust. Instead, Ceylan portrays a local community immersed in intellectual stagnation and creates his hero as an extremely unlikeable misanthropist, to whom literature cannot bring fulfillment. The character of his father, Idris, introduces another ancient motif to the film – the figure of Sisyphus. The relationship between father and son, which deepens in the finale, brings an unexpected note of optimism to the picture, which in its dramaturgy resembles Anton Chekhov’s literary worlds.</p> Adam Domalewski Copyright (c) 2019 2019-03-15 2019-03-15 32 343–355 343–355 10.14746/pt.2019.32.18 Teoria systemu społecznego obiegu literatury https://pressto.amu.edu.pl/index.php/pt/article/view/22547 <p>Faulstich Werner, Teoria systemu społecznego obiegu literatury [Theory of the Social System of Literature Circulation]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 435–451. ISSN 1644-6763. DOI 10.14746/pt.2019.32.24.</p> <p>The main hypothesis of literature circulation in a theory system can be formulated as follows: literature circulation is an inextricable element of literature, while literature constitutes an integral part of literature circulation. To provide evidence to this supposition, it is necessary to draw from the definition of a system proposed by Helmut Wilke in his Systemtheorie (1982). The social circulation of literature demands the emergence of a series of subsystems which, as part of the system, are characterised by their own factors, relations and ways of organisation. The most important category, enabling us to tell the difference between various subsystems of the literature circulation, is the medium. It goes without saying that any kind of literature is passed on via a particular kind of medium, i.e. the novel through the medium of the book, radio drama through the medium of radio, the feature film through the medium of film, stage drama through the medium of theatre, etc. It is impossible to separate “Literature” from “Circulation”. As a consequence, the history of literature is neither a pure history of a particular<br>piece or utopia (the latter being the approach of the idealistic literary studies), nor pure history of media (technology) as a part of a general history of communication and society (which is the journalism approach). Instead, it clearly separates itself from both, i.e. as a history of a mediated utopia.</p> Krzysztof Kozłowski Marek Kasprzyk Verner Faulstich Copyright (c) 2019 2019-03-15 2019-03-15 32 435–451 435–451 10.14746/pt.2019.32.24 Strukturalistyczna bohemistyka Profesora Jacka Balucha (1940–2019) https://pressto.amu.edu.pl/index.php/pt/article/view/22546 <p>Gierowski Piotr, Strukturalistyczna bohemistyka Profesora Jacka Balucha (1940–2019) [The Structural Bohemistics of Professor Jacek Baluch (1940–2019)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 455–467. ISSN 1644-6763. DOI 10.14746/pt.2019.32.25.</p> <p>The paper describes the scientific profile of Jacek Baluch, Polish scholar and scientist in the field of Czech studies, professor of the Jagiellonian University, democratic opposition activist in the communist period in Poland, and Polish ambassador to Prague. The study emphasizes the structural aspects of Jacek Baluch’s scientific work and its meaning for the development of Polish literary knowledge in the second half of the 20th century.</p> Piotr Gierowski Copyright (c) 2019 2019-03-15 2019-03-15 32 455–467 455–467 10.14746/pt.2019.32.25 Noty o autorach https://pressto.amu.edu.pl/index.php/pt/article/view/22550 . . Copyright (c) 2019 2019-03-15 2019-03-15 32 468 482