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Wyszukujesz frazę "passage of time" wg kryterium: Temat

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    Tytuł:
    To my wymyśliliśmy czas. „Ocean Without a Shore” i „Transfigurations” Billa Violi
    It is Us Who Invented Time: “Ocean Without a Shore” and “Transfigurations” by Bill Viola
    Autorzy:
    Pitrus, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/28409015.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Bill Viola
    sztuka wideo
    przemijanie
    video art
    passage of time
    Opis:
    Artykuł zawiera interpretacje prac amerykańskiego artysty wideo Billa Violi Ocean Without a Shore i Transfigurations. W obydwu artysta wykorzystał niecodzienną technologię łączącą zapis HD, prymitywne kamery telewizji przemysłowej i techniki inscenizacyjne własnego pomysłu. Wspólnym tropem jest tu czas ukazany w wielu kontekstach. Pozornie powtarzalna forma stała się dla Violi pretekstem do rozważań o przemijaniu, śmierci, reinkarnacji. Po raz kolejny wyrafinowana technologia ujawnia swoje „ludzkie” oblicze, po raz kolejny także Bill Viola proponuje widzom zmierzenie się z erudycyjną układanką, która pod pozornie prostoduszną powierzchnią kryje wiele fascynujących odniesień – przede wszystkim do filozofii i systemów religijnych Wschodu.
    The article contains interpretations of two works of the American video artist Bill Viola: Ocean Without a Shore and Transfigurations. In both of them the artist used an unusual technique combining a HD recording, primitive CCTV recordings and his own staging techniques. The common theme is time depicted in many contexts. Seemingly repetitive form became, for Bill Viola, a pretext for reflection on transience, death and reincarnation. Once again, sophisticated technology shows its “human” face, and once again Bill Viola offers the audience the challenge of an erudite puzzle, which under an apparently artless surface hides many fascinating references, in particular to philosophy and religious systems of the East.
    Źródło:
    Kwartalnik Filmowy; 2014, 86; 161-170
    0452-9502
    2719-2725
    Pojawia się w:
    Kwartalnik Filmowy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru
    ‘You’ve reached the finish line, sweetheart.’ On the ageing and demise of theatre
    Autorzy:
    Żurawski, Mateusz
    Powiązania:
    https://bibliotekanauki.pl/articles/3201184.pdf
    Data publikacji:
    2023-04
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    theatre
    archive
    memory
    acting
    ageing / passage of time
    Grzegorzewski
    Różewicz
    Beckett
    Opis:
    Duszyczka (A Little Soul) by Tadeusz Różewicz was the penultimate production staged by Jerzy Grzegorzewski and at the same time the director’s last production, included in the repertoire of the National Theatre for seventeen years after his death. The author, a theatre historian and archivist, researcher of Grzegorzewski’s work and a multiple viewer of Duszyczka, attempts to describe the life of the play, which despite being deprived of the director’s care, nevertheless retained the shape given to it by the author to the end. He draws attention to how the aging of the performance, both in the metaphorical and quite literal sense (the physical aging of actresses and actors, the wear and tear of the stage objects) may have affected its reception. To this end, he confronts the surviving archival documentation of the performance with the personal experience of a multiple viewer. Despite the author’s declared reluctance towards this methodology, the article can be categorised as part of the current of the so-called affective archive.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2023, 174; 186-202
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Passage of Time and Loss of Childhood in Dylan Thomas’s Fern Hill and William Wordsworth’s Ode: Intimations of Immortality
    Autorzy:
    Shabanirad, Ensieh
    Omrani, Elham
    Powiązania:
    https://bibliotekanauki.pl/articles/1191976.pdf
    Data publikacji:
    2016
    Wydawca:
    Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
    Tematy:
    Dylan Thomas
    Fern Hill
    Loss of Childhood
    Ode: Intimations of Immortality
    Passage of Time
    Wordsworth
    Opis:
    Dylan Thomas (1914-1953) is one of the greatest twentieth century poets, who composed poetry in English. His passionate emotions and his personal, lyrical writing style make him be alike the Romantic poets than the poets of his era. Much of Thomas’s works were influenced by his early experiences and contacts with the natural world, especially his famous poem, Fern Hill. This paper aims to compare Thomas’s Fern Hill with Wordsworth’s Ode: Intimations of Immortality to illustrate the poets’ different attitudes towards time and childhood. In Fern Hill, Thomas’s attitude towards childhood changes from one of happiness and satisfaction to grief and loss of innocence and carefreeness. Thomas believes that Time seems like a hero to a child and allows him to be innocent and carefree; but as the child grows older and loses his childhood, he considers Time as a villain who imprisons him and does not let him enjoy life anymore and robes his childhood’s blessings and treasures. Conversely, Wordsworth in his Ode: Intimations of Immortality expressed his belief that although Time has taken his childhood creativity and imagination, but matured his thought and reason and given him insight and experience in exchange. Therefore, although Thomas and Wordsworth are both mournful at the loss of the childhood and its blessings, Wordsworth appreciates the adulthood insight, knowledge, experience, and philosophical mind. So, apparently Wordsworth’s poem is more inspiring and hopeful than Thomas’s in which he accepted being aged regretfully of his childhood, while Wordsworth’s poem enlightens the readers on how to feel happy and grateful of the rewards of adulthood.
    Źródło:
    World Scientific News; 2016, 50; 106-116
    2392-2192
    Pojawia się w:
    World Scientific News
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artistes/copistes
    Autorzy:
    Borrel, Pascale
    Powiązania:
    https://bibliotekanauki.pl/articles/487698.pdf
    Data publikacji:
    2015-11-05
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    ARTIST, TEXT, COPY, OPERATION AND WRITING AND, REWRITING, THE PASSAGE OF TIME, ART
    ARTYSTA, TEKST, KOPIOWANIE, PISANIE I PRZEPISYWANIE, UPŁYW CZASU, SZTUKA
    Opis:
    ARTIST – COPYIST Simon Hantai, Allen Ruppersberg, Bruno Di Rosa, Gérard Collin-Thiébaut, Sherrie Levine copied the Bible, philosophical and literary texts, (Walden, Henry David Thoreau, Flaubert’s Madame Bovary, Journal Amiel ...). Following existing texts, these artists work looks like ‘banal, humble and mindless’ copyist work. Although in some cases copying is part of the painting – as in Peinture (Écriture rose) by Simon Hantai – produced mostly with a ballpoint pen on plain paper – as if the artists wanted to emphasize the trivial, time-consuming and monotonous nature of his/her effort and evoke the atmosphere of the school classroom of distant times. Allen Ruppersberg and Bruno Di Rosa indeed refer to school experience, when they declare that rewriting allowed them to ‘learn how to write’, just as copying masters allow beginners to learn to paint. But while copying allows us to establish organic relationship with the text, then the process of copying the text is not about maintaining certain tradition: it is rather about the role that language plays in the field of visual arts starting from the sixties. It contributes to the revaluation of values usually connected with art-pieces, such as originality, expression of subjectivity, etc. In numerous comments provoked by the copyist who appears in literature (Bouvard et Pécuchet, Bartleby ...), there is a subversive nature of this labor-intensive and mechanical actions – when it is practiced in art. Copying is a long-term job; successive lines of letters fill the pages of notebooks, creating a ‘full-bodied’ art-piece in the literal sense of the word. The quantitative aspect is carried out in various ways. If the point is to visualize the copy of an entire novel, and in order to embed the importance of work for systematic and ‘mandatory’ implementation, or in order to reach make more opportunity than necessity – copying allows us to experience the passage of time: the time that is spent on this completely anachronistic act ; time spent without any justification.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 20; 92-107
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The foundations of a poetic dialogue: Leopold Staff and Ryszard Krynicki
    Podstawa poetyckiej rozmowy: Leopold Staff i Ryszard Krynicki
    Autorzy:
    Misiak, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/2088445.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish literature of the 20th century
    avant-garde poets
    the dialogic relationship
    new materialism
    postphenomenology
    plasticity
    transformation masks
    alterations in the passage of time
    Delphic maxims
    Leopold Staff (1878–1957)
    Ryszard Krynicki (b. 1943)
    plastyczność
    maska transformacyjna
    sentencje delfickie
    przemiany czasu i podmiotowości
    Opis:
    This article brings together two authors/two poems and makes them enter into an intertextual dialogue that involves the discourses of the new materialism (Catherine Malabou), postphenomenology (Natalie Depraz and Marc Richir) and Delphic maxims. Concepts like plasticity, transformation masks, alterations in the passage of time (chronos, kairos, aeon), subjectivity, emotional excess, and the living body are used to establish the foundations a poetic conversation, which, for all one knows, may be fortuitous or in a way preordained.
    Źródło:
    Ruch Literacki; 2019, 2; 237-248
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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