- Author:
Magdalena Urbańska
- E-mail:
urbanska.magda@wp.pl
- Institution:
Uniwersytet Jagielloński w Krakowie
- ORCID:
https://orcid.org/0000-0003-2961-1676
- Year of publication:
2019
- Source:
Show
- Pages:
97-111
- DOI Address:
https://doi.org/10.15804/kie.2019.03.07
- PDF:
kie/125/kie12507.pdf
W ostatnich latach filmowcy średniego pokolenia chętnie pokazywali przemoc poprzez jej ujęcie gatunkowe: czy to w thrillerach (filmach o seryjnych zabójcach), czy filmach kryminalnych. Najmłodsze pokolenie filmowe - urodzone w latach osiemdziesiątych - spogląda na ten motyw z zupełnie innej perspektywy. Młodzi twórcy unikają konwencji gatunkowych, przełamując - estetycznie i fabularnie - dotychczas dominujący w rodzimej kinematografii obraz przemocy i stawiając przed nim nowe zadania. W artykule przyglądam się sposobom obrazowania śmierci w najmłodszym kinie, z zaznaczeniem filmowych i społecznych kontekstów oraz analizą ich funkcji. Przedstawiam reprezentacje zabijania w ramach trzech strategii: heroicznej atrakcyjności, arthouse’owej dosadności i generacyjnej diagnozy. Heroiczną atrakcyjność opisuję na przykładzie dwóch filmów o powstaniu warszawskim - Miasto 44 (2014, J. Komasa) oraz Baczyński (2013, K. Piwowarski) - w których estetyzowana śmierć zostaje pokazana jako najwyższy model poświęcenia dla ojczyzny, a jednocześnie pełni rolę atrakcji. Na antypodach takiego obrazu figuruje strategia kina artystycznego, w której zabójstwo ukazane jest jako bezsensowny akt przemocy. Analizy tego motywu, estetycznie wzorowanego na konwencjach zachodniego kina arthouse’owego, dokonuję na przykładzie Placu zabaw (2016, B.M. Kowalski) i Hardkor disko (2014, K. Skonieczny). Za pośrednictwem trzeciego sposobu pokazywania zabijania - występującego w: Obietnicy (2014, A. Kazejak), Reakcji łańcuchowej (2017, J. Pączek) i Bejbi Blues (2012, K. Rosłaniec) - twórcy próbują rysować obyczajowy i psychologiczny portret danej generacji. W artykule szczegółowo analizuję powyższe strategie ukazywania śmierci i reprezentacje obrazów przemocy w najnowszej kinematografii, aby ukazać je jako odmienne na tle dotychczasowych tradycji kina polskiego.
- Author:
Katarzyna Szoblik
- Institution:
Universidad de Varsovia
- Year of publication:
2019
- Source:
Show
- Pages:
19-67
- DOI Address:
https://doi.org/10.15804/sal201901
- PDF:
sal/9/sal901.pdf
A song in honor of San Francisco or a funerary song for Sebastian Ramirez de Fuenleal? An interpretation of the so called Pipilcuicatl, “The Children’s Song”, registered in the manuscript of Cantares mexicanos
The article presents a critical interpretation of one of the songs collected in the 16th-century manuscript known as Cantares mexicanos. “The Children’s Song”, in Nahuatl Pipilcuicatl, is one of the few pieces of this manuscript provided with clear information on the context of its performance, which apparently should facilitate its correct interpretation. However, as the present analysis shows, the song in question is in fact a result of various reelaborations of the more ancient models. It is an overlap of diff erent semantic levels corresponding to diverse ideologies, objectives, events and socio-politic contexts, such as: the ancient indigenous rituals, funerary celebrations, Medieval and Renaissance Christian popular beliefs and aesthetics, as well as the contemporary Colonial aesthetics of the New Spain. The objective of this article is to indicate the possible meanings that might have been attributed to diff erent elements of this song by the Spaniards and the indigenous participants of the celebration.
- Author:
Joanna Pietraszczyk-Sękowska
- Institution:
Universidad de Łódź
- Year of publication:
2019
- Source:
Show
- Pages:
127-162
- DOI Address:
https://doi.org/10.15804/sal201904
- PDF:
sal/9/sal904.pdf
Argentinos, bestias, chaqwa y pishtacos. The experience of terror, cruelty and death in the collective consciousness of Andean villagers during the internal conflict in Peru
The problem of internal conflict in Peru is a popular research topic that has been analyzed from various scientific perspectives by both domestic and foreign researchers for almost four decades. In addition to the dominant historical and political approaches (mainly focused on structural features of war and its impact on the current shape of the state and society) as well as the anthropological ones (primarily devoted to socio-cultural sources and following reveals of the problem), a significant place is also occupied by the studies of violence, taken up by various disciplines. Application of this perspective is, however, an exceptionally complex task, since, as in the lens, it concentrates systems of links between phenomena and actors, whose figures cannot be clearly outlined. It is particularly evident in relation to forms, scale and perception of terror in the Andes. The article aims at looking for the answer to the question what was going to be the role of the title “terror, cruelty and death” in the military activities in the Peruvian province and how they ultimately influenced collective consciousness of Andean villagers and their attitudes in conflict. Therefore, the analysis concerns, first of all, forms and goals of violence in the Andes and the ways in which serranos visualized them, and then, reactions of the latter to the war experience of dehumanization, death and destruction.
- Author:
Adriana Sara Jastrzębska
- Institution:
Universidad de Bielsko-Biała
- Year of publication:
2019
- Source:
Show
- Pages:
193-210
- DOI Address:
https://doi.org/10.15804/sal201907
- PDF:
sal/9/sal907.pdf
Colombian narco novel: a Thanatotic narrative
This article comprises an inventory of the motif of death within the narrative syntax of several Colombian narco novels. “Sicaresca” novels by Fernando Vallejo, Jorge Franco and Arturo Alape will be discussed. The construct of the characters, young contract killers, whose violent and premature deaths are seen as their fate, will be shown to display an indisputably “Thanatotic” facet. In the second part of this article, the ritual dimension of death, presented in the novels “Comandante Paraíso” by Gustavo Álvarez Gardeazábal and “Leopardo al sol” by Laura Restrepo, will be analysed. The last part will be dedicated to the iconic and symbolic dimension of Pablo Escobar’s death depicted in “El ruido de las cosas al caer” by Juan Gabriel Vásquez and “Happy birthday, capo” by José Libardo Porras.
- Author:
Maciej Szczurowski
- Institution:
Uniwersytet Gdański
- ORCID:
https://orcid.org/0000-0003-3954-5772
- Year of publication:
2022
- Source:
Show
- Pages:
7-23
- DOI Address:
https://doi.org/10.5604/cip202201
- PDF:
cip/20/cip2001.pdf
Symbols of suffering and mourning rituals in contemporary political space
The death of a loved one results in manifestations of suffering, mourning, and finally post-mortem and funeral ceremonies. The departure of people who were key figures and influenced the political space brings with it a whole spectrum of symbols, signs and rituals of mourning in this space. In the history of the Third Polish Republic, Poles experienced a number of sad moments related to the deaths of less and more significant figures in the world of politics. The departure of John Paul II, all those who died in the Smolensk catastrophe, the assassination of President Paweł Adamowicz, the deaths of the founding fathers of the Third Republic: Tadeusz Mazowiecki and Jacek Kuroń, Władysław Bartoszewski, Andrzej Chodubski, who was so close to the University of Gdańsk environment, and many others, are just some of the great world of politics and political science. The symbols of suffering and rituals of mourning that accompanied their farewells were, among other things, an expression of our culture, also political.