Wszystkie pola: Orient - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Orient w fabularnym polskim filmie powojennym. Rekonesans
Orient in Polish Post-War Feature Film. Reconnaissance
Autorzy:: Nowakowski, Jacek
Powiązania:: https://bibliotekanauki.pl/articles/1182029.pdf
Data publikacji:: 2013-12-02
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: orientalism
polish feature film
postcolonialism
orientalizm
polski film fabularny
postkolonializm
Opis:: Artykuł analizuje obecność wątków orientalnych (blisko- i dalekowschodnich) w polskim filmach fabularnych zrealizowanych po II wojnie światowej w perspektywie takich pojęć jak: orientalizm, postkolonializm i zderzenie kultur. Wynika z tych obserwacji, że obecność tych wątków w naszym kinie jest wciąż skromna, choć po przełomie politycznym z 1989 roku jest ich nieco więcej. Grupuje omawiane filmy w trzy typy: pokazujące egzotykę przestrzeni rodem ze Wschodu, przedstawiające bohatera który jest obcym i wrogiem oraz te, w których przybysz ze Wschodu zaczyna być rozumiany i akceptowany, co ma miejsce w utworach najnowszych.
In this paper, I intended to analyse Polish feature films devoted to three central categories: orientalism, postcolonialism and the clash of cultures (civilizations). This article presents the Polish cinema in the following three areas and types. First of all, there are works which show an exotic, oriental space. Secondly, there are films with a hero who is a stranger and an enemy. Finally, in the newest films the protagonist – a new comer from the East – becomes accepted and understood.
Źródło:: Porównania; 2013, 13; 167-178
1733-165X
Pojawia się w:: Porównania
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Giacinto Scelsi - homo viator and his musical itinerary
Autorzy:: Skupin, Renata
Powiązania:: https://bibliotekanauki.pl/articles/780391.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Scelsi Giacinto
twentieth-century music
Italian music
homo viator
Orient
orientalism
Opis:: Giacinto Scelsi was a “traveller to the East”, who tied his life inextricably to creative work. As a composer, he sought a path for the renewal of his own musical language, shaped during his youth under the powerful influence of other composers’ styles. On becoming a homo religiosus, in the Eliadean sense, he found his own path to transcendence through art (creation), deeply inspired by those great traditions of the Orient in which art was a reflection of the artist’s spirituality. The topos of the path is one of the main keys to interpreting Scelsi’s work. His works for large orchestra and choir contain distinct traces of a Scelsian “voyage to the East”. They form one great cycle, integrated by the motif of the path, expressed through meanings added in the content of the individual programme-titles. The cycle’s finale, the eschatological Pfhat (1974), is the musical depiction of a journey that ends with “a clear, primordial light,” symbolising man’s encounter with a higher reality and “great liberation” as the goal of his spiritual path. The chronotope of the path is revealed in the very musical material of his orchestral works: in their quasi-visual soundspace. It is manifest, among other things, in the processual form - one might even say the storyline - and the consistently applied procedure of transforming sonorities, texture and rhythmic structures. A fundamental symbolic function is discharged by various forms of “upwards path”, linked to the dramaturgical role of an upwards motion pattern in the melody and an upwards movement in the tonal-harmonic plan of the orchestral works. The most crucial of all the variants of the motif of the path is the direction “into the core”, that is, towards the “inner space” of the sound. This carries significance both in the dimension of the harmonic spectrum of a sound and also its spiritual depth - the mystical dimension. The journey to the centre acquires the status of an emblematic topos of the Scelsian poetic of the viaggio al centro del suono [journey to the centre of the sound].
Źródło:: Interdisciplinary Studies in Musicology; 2013, 12; 127-148
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Tadeusza Z. Kasserna ujęcie Orientu w operze The Anointed według dramatu Koniec Mesjasza Jerzego Żuławskiego
Representations of the Orient in Tadeusz Z. Kassern’s opera The Anointed based on Jerzy Żuławski’s drama The End of the Messiah
Autorzy:: Skupin, Renata
Powiązania:: https://bibliotekanauki.pl/articles/521988.pdf
Data publikacji:: 2013
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:: Tadeusz Z. Kassern
The Anointed
opera
Andrzej Żuławski
The End of the Messiah
orientalism
Opis:: The title character of Andrzej Żuławski’s drama The End of the Messiah (1911) is a historical fi gure of a Turkish-Jewish apostate messiah — Sabbatai Zevi (1626–1676). Żuławski exposes in his play, which contains many Polish elements, the idea of Jewish messianism in a mystical and national sense and his representation of the Islamic Orient has a pessimistic and escapist message. Tadeusz Z. Kassern in his own adaptation of the drama in his lyric opera The Anointed (1949–51) removed all Polish threads and added one oriental character: the Muezzin’s voice, imitating an adhan — muslim call for prayer, which has a key importance for musical orientalism of the opera. Although it is presented with a relatively objective ethnographic accuracy, it creates an exotic background for the action — as a modern aspect of couleur locale. Muezzin’s voice is always heard in the scenes with exclusive participation of Jewish main characters (Sabbatai and Miriam), which emphasizes the relation of antithetical worlds (inside – outside) or opposition: Jewish characters – alien (exotic) Muezzin. Opera The Anointed is an emblematic example of the hybrid referentiality of Kassern’s musical orientalism.
Źródło:: Aspekty Muzyki; 2013, 3; 83-109
2082-6044
Pojawia się w:: Aspekty Muzyki
Dostawca treści:: Biblioteka Nauki

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