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    Wyświetlanie 1-5 z 5
    Tytuł:
    Seks i przemoc w cyberprzestrzeni: spekulatywna wizja Margaret Atwood w powieści „Oryks i Derkacz”
    Sex and Oppresion in Cyberspace. A Speculative Vision in Margaret Atwoods "Oryx and Crake"
    Autorzy:
    Kuźnicki, Sławomir
    Powiązania:
    https://bibliotekanauki.pl/articles/520097.pdf
    Data publikacji:
    2017
    Wydawca:
    Ośrodek Badawczy Facta Ficta
    Tematy:
    utopia
    utopia and dystopia
    eutopia
    dystopia
    Margaret Atwood
    pornography
    sexuality
    cyberspace
    Opis:
    The paper Sex and Oppresion in Cyberspace: A Speculative Vision in Margaret Atwood’s “Oryx and Crake” Novel analyzes Margaret Atwood’s Oryx and Crake in reference to the issues of violence and sex as present in the cyberspace. Before focusing on these two problems, generic outline is introduced, starting from the commonly used categories of utopia/eutopia/dystopia to those more closely associated with Atwood herself, i.e. speculative fiction and utopia. Violent internet games and explicit pornography act in the novel as sign of ethical reevaluation, which in the long run leads the novel’s world to the verge of a total catastrophe. At the same time, the overabundance of such on-line stimuli becomes synonymous with our contemporary culture of exhaustion.
    Źródło:
    Creatio Fantastica; 2017, 1(56); 57-67
    2300-2514
    Pojawia się w:
    Creatio Fantastica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sprzedawca pornografii i przemocy: Lou Reed w świecie Lulu
    The Broker of Pornography and Violence: Lou Reed in Lulu’s World
    Autorzy:
    Kuźnicki, Sławomir
    Powiązania:
    https://bibliotekanauki.pl/articles/1968541.pdf
    Data publikacji:
    2020
    Wydawca:
    Ośrodek Badawczy Facta Ficta
    Tematy:
    Lou Reed
    Frank Wedekind
    Metallica
    pornography
    violence
    shock
    transgression
    Opis:
    In the article ”The Broker of Pornography and Violence: Lou Reed in Lulu’s World”, Sławomir Kuźnicki analyses the literary and cultural layers of Lulu, the album published by Lou Reed in collaboration with Metallica, based on Frank Wedekind’s two modernist dramas: Earth Spirit (1895) and Pandora’s Box (1904). The rock poet treats the plot of the two plays very loosely and it becomes the means through which he enters the area of disturbing perversion and graphic pornography. This strategy, then, is typical for him: drawing on the primal instincts of human sexuality, he penetrates these experiences that – although frequently marginalized – are the foundations of our culture. Consequently, Reed seems to follow Susan Sontag’s diagnosis according to which the goal of pornographic literature is to disorient and to disturb mental balance. In the case of Lulu, this strategy of cultural disorientation is also implemented via the generic form of the record. This form mainly stems from Reed’s decision to cooperate with Metallica, i.e. a band whose conservative and rather sustainable music stands in contrast to the former artist's transgressive arts. In other words, on many levels it demonstrates Reed’s strategies of crossing the borders between what is commonly accepted and what is rejected because of its non-normative quality. It results in multilayered kinkiness that outreaches the literary frames of the project and makes it possible to view Lulu as a piece of art that is both uncompromising and visionary.
    Źródło:
    Facta Ficta. Journal of Theory, Narrative & Media; 2020, 5, 1; 113-130
    2719-8278
    Pojawia się w:
    Facta Ficta. Journal of Theory, Narrative & Media
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Spadanie i falowanie: trauma i żałoba Nicka Cave’a
    Falling and rolling: Nick Cave’s trauma and grief
    Autorzy:
    Kuźnicki, Sławomir
    Powiązania:
    https://bibliotekanauki.pl/articles/1944364.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    Nick Cave
    trauma
    żałoba
    śmierć
    grief
    death
    Opis:
    This article seeks to decode the artistic strategies employed by Nick Cave on two of his recent albums, Skeleton Tree (2016) and Ghosteen (2019), to process the trauma related to the sudden death of his teenage son, Arthur, in July 2015. Understandably, the literary layer of both productions is marked by the author’s grief and attempts to overcome it. However, the lyrics on both albums are also an account of a recovery from a trauma. It is a process composed of four stages: the shock experienced by an individual; desperate attempts to return to the reality before the trauma, which for obvious reasons turns out to be impossible; developing a trauma narrative, i.e. retelling a traumatic event; the beginning of the healing process with accepting the loss as a crucial component. The entire process also assumes a significant participation from Cave’s audiences, as the artist consciously allows us access to an intimate and traumatic experience on a previously unprecedented scale.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2021, 114, 2; 48-60
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Post-chrześcijańska dystopia albo proto-chrześcijańska utopia. O potrzebie mitologii w MaddAddam Margaret Atwood
    Autorzy:
    Kuźnicki, Sławomir
    Powiązania:
    https://bibliotekanauki.pl/chapters/2080634.pdf
    Data publikacji:
    2018
    Wydawca:
    Ośrodek Badawczy Facta Ficta
    Tematy:
    dystopia
    post-chrześnijanizm
    proto-chrześcijanizm
    MaddAddam
    Margaret Atwood
    Atwood
    Źródło:
    Ksenologie; 345-360
    9788394888909
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Under Our Eye: Margaret Atwood’s Variation on the Panopticon in The Heart Goes Last
    Autorzy:
    Kuźnicki, Sławomir
    Powiązania:
    https://bibliotekanauki.pl/articles/971257.pdf
    Data publikacji:
    2020
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    Jeremy Bentham
    Michel Foucault
    Margaret Atwood
    the Panopticon
    dystopian fiction
    surveillance
    Opis:
    In her dystopian dark comedy The Heart Goes Last (2015), Margaret Atwood openly refers to Jeremy Bentham’s concept of the Panopticon. The future world depicted in her novel is filled with violence and deprived of both human bonds and hope. Hence, being contained, monitored and - after Foucault - disciplined and punished appears to be the characters’ last resort. Surveillance tempts both sexes as it is politically correct and universal, and it does not privilege one group of people over the other. The article discusses the dystopian vision of the near future as created by Atwood in her 2015 novel, with direct references to the conception of the Panopticon, both in its original meaning proposed by Bentham, and - more significantly - in Michel Foucault’s reading of this idea as a metaphor of the way western societies are organized.
    Źródło:
    Zagadnienia Rodzajów Literackich; 2020, 63, 1; 75-86
    0084-4446
    Pojawia się w:
    Zagadnienia Rodzajów Literackich
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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