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Wyszukujesz frazę "Igielska, Anna" wg kryterium: Autor


Wyświetlanie 1-5 z 5
Tytuł:
Sny Jarosława Iwaszkiewicza - subiectum w obiektywie
"Dreams" by Jarosław Iwaszkiewicz. The unself-ish self
Autorzy:
Igielska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1393635.pdf
Data publikacji:
2007-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
Jarosław Iwaszkiewicz's Sny (Dreams) are interpreted by me in the context of Schopenhauer's philosophy of music and phenomenology of perception of Maurice Merleau-Ponty and a new phenomenology of Hermann Schmitz. The memory of Richard Wagner's Die Traume is treated by me not only as a point of reference for the description of the events of youth, but also as a form of presentation of the world of the presented story.
Źródło:
Przestrzenie Teorii; 2007, 8; 205-219
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Decorum. Kardenia. O szalonym z "mad songu" Henryego Purcella
Cardenio’s Decorum. About the madman from Henry Purcell’s mad song
Autorzy:
Igielska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920348.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Cardenio
Don Quixote
mad songs
English Theatre (1660–1700)
Henry Purcell
teatr angielski
Opis:
The central topic of the article Cardenio’s Decorum is the depiction of madness in words and music. The character of Cardenio, the betrayed and lovesick Andalusian nobleman of Miguel Cervantes Saavedra’s Don Quixote, represents one of many theatrical madmen who could be seen on the English stage during the Restoration period (1660–1700) and at the same time one of those who used to present their unusual mental condition in the frame of a stage song, the so-called ‘mad song’. The function of music consists here in the transfer of affection and vivid images: bound together with unreal visions, the music generates a kind of ‘mad’ dramaturgy, in which the images appear as an analogue for the character’s inner state and decide how the musical action is to develop.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 73-86
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„The End" i projekt happy endu. O funkcji piosenki w "Czasie Apokalipsy" F.F. Coppoli
„The End” and a Project of Happy End. On the Function of Song in F.F. Coppola’s „Apocalypse Now”
Autorzy:
Igielska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920038.pdf
Data publikacji:
2012-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
The Doors
The End
Francis Ford Coppola
Apocalypse Now (1979)
song analysis
Opis:
In his brilliant analysis and interpretation of the famous song The End of The Doors Werner Faulstich showed that this piece is built on the formal structure of Greek tragedy. This article is an attempt at developing his idea by putting it in context of Francis Ford Coppola’s film, Apocalypse Now: beginning with the description of the structure and dramaturgy of film exposition, then showing the place of the song in the film narration and composition, at last stressing its connection with the plot – not only with the prologue and the end of Coppola’s work, but also with mythological subject and message of his film
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 33-42
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Celeberrimae urbes - celebres praedicatores. O medialnym znaczeniu mnichów żebrzących w średniowiecznym mieście
Autorzy:
Igielska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920140.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
mendicant orders
medieval city
media
preacher
media studies
Opis:
This article deals with media studies and discusses a problem thoroughly examined by historians of the Medieval period concerning the expansion of mendicant orders and their ministry work in the flourishing European cities of the 13th century. The research perspective – which differs from a strictly historical and theological point of view – emphasizes the impact of mendicant orders on communication in the rapidly changing social conditions of the era. Therefore, it allows one to interpret confrontations with wandering heretical preachers in the 12th century not only as a religious conflict, but also a confrontation with a certain way of distributing ideas that contested the existing state of affairs. It also makes it possible to expose the enduring features of the media role of the preacher, which determined his popularity until the Reformation. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 127-138
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fabuła zagadki. O Błędnych gwiazdach Wielkiej Niedźwiedzicy Luchina Viscontiego
The Plot of a Riddle. On Luchino Visconti’s Vaghe stelle dell’Orsa
Autorzy:
Igielska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1039045.pdf
Data publikacji:
2019-03-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Visconti
Luchino (1906–1976)
Vaghe stelle dell’Orsa (1965)
Forse che si
orse che no (1910)
Die Walküre (1870)
Wälsungenblut (1905/1958)
Opis:
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. 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.
Źródło:
Przestrzenie Teorii; 2019, 32; 45-75
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-5 z 5

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