Temat: formal experiments - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: Eugène Savitzkaya: une quête formelle pour savourer la vie
Eugène Svitzkaya: formal experiments in an effort to make the most of life
Autorzy:: Teklik, Joanna
Tematy:: Belgium
contemporary novel
Savitzkaya
formal experiments; Pokaż więcej
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:: https://bibliotekanauki.pl/articles/1051166.pdf Link otwiera się w nowym oknie
Opis:: Savitzkaya, hardly known to French public, delights contemporary readers with his style, displaying both peculiar and variegated characteristics. Although he dispenses with the matters of genre, his latest texts (Célébration d’un mariage improbable et illimité, 2002, Exquise Louise, 2003, Fou trop poli, 2005) are still thought to represent the novel. His peculiarity lies in that he contrasts a daily routine with brilliantly worked form, nevertheless well suited to depict it. His predilection for language is pervasive in his style, showing strong preference for details (still, it stands in a stark contrast to the practice of the Nouveaux Romanciers of the 20th century). Savitzkaya asserts himself with the aid of conciseness, draws to a large extent upon surprising stylistic devices, juggles with words, even if paying careful attention to their precision. Finally, he acts as a genuine poet, reviving fragrances and colors of childhood. All in all, the whole of his work is designed to bring his readers to take pleasure in living.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Мадэрнiсцкi дыскурс у прозе Уладзiмiра Караткевiча пачатку 1960-х гадоў
Modernist Discours in V. Korotkevich’s prose of the early 1960s
Autorzy:: Nawickaja, Walentyna
Tematy:: echo talent
personality
ideological innovations
grotesque
typology of images
formal-style experiments; Pokaż więcej
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Powiązania:: https://bibliotekanauki.pl/articles/2131025.pdf Link otwiera się w nowym oknie
Opis:: The article discusses and identifies the renewal of ideological and semantic content of V. Korotkevich’s creative explorations in the early 1960s as well as an artistic-aesthethic development of his talent during studies in Moscow (1958–1960, 1960–1962). The novelty and significance of the obtained results are manifested in scientific and conceptual understanding of the peculiarities of aesthetics, characteristic to the author’s artistic thinking in “The Legend of the Poor Devil and Satan’s Lawyers” and in the novel “The Rook of Despair”. The author reveals the essence of romantic, realistic and fantastic relationships in an artistic image of reality. Not only does the author define principles of using Biblical contents and images, historical facts and literary processes in various epochs but she also recommends to reread V. Korotkevich’s books and find the writer’s understanding and artistic treatment of a Belarusian. Moreover, the author discusses the functions of intellectual aesthetics in the artistic and typological structure of the image of the impoverished Rogochev nobleman Gervasiy Vylivakha and she outlines the nature of the writer’s creative experiments, which determined the intellectual discourse in the novels “Christ landed in Gorodnya” and “Black Castle Olshansky”.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Formal Theory and Value Judgments
Autorzy:: Kamiński, Marek
Lissowski, Grzegorz
Świstak, Piotr
Tematy:: formal theory
experiments
value judgments
rationality; Pokaż więcej
Wydawca:: Polskie Towarzystwo Socjologiczne
Powiązania:: https://bibliotekanauki.pl/articles/1930068.pdf Link otwiera się w nowym oknie
Opis:: When we assume that a survey reveals respondents’ true attitudes we tacitly assume that the subjects understood what we are asking them about and that they had no incentive to be untruthful. In typical studies none of the two assumptions holds. Subjects are asked questions that use undefined terms and they are asked about issues they have no incentive to answer truthfully. Here we argue that a way to solve the two problems lies in constructing a formal theory of an attitude in such a way that an attitude can be derived from the answers yet when answering the questions subjects cannot possibly know that their responses reveal anything about their attitude and, hence, they have no incentive to answer insincerely.We briefly discuss a study that has the desirable properties necessary for the proper design.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Claude Ridder: Lazarus either Orpheus? The portrait of the main character of Je t'aime, je t'aime, a film by Alain Rasnais
Claude Ridder: Łazarz czy Orfeusz? Studium głównego bohatera filmu Je t'aime, je t'aime Alaina Resnais
Autorzy:: Sołtyska, Pola
Opis:: Praca jest poświęcona analizie bohatera filmu "Je t'aime, je t'aime", Claude'a Riddera. Przebiega ona w odniesieniu do dwóch modeli postaci: archetypicznego Orfeusza oraz "człowieka łazarzowego" - typu postaci wprowadzonej do dyskursu przez Jeana Cayrola, o czym piszę w rozdziale drugim. Poprzedza go wprowadzenie, w którym nakreślam ewolucję rozwoju twórczego Alaina Resnais, skupiając się na jego filmach dokumentalnych oraz fabularnych, w których przewijały się te same motywy: śmierci, miłości, pamięci. W pierwszym rozdziale analizuję tezy Jeana Cayrola i Maurice'a Blanchota odnoszące się do typów postaci dominujących w literaturze powojennej. Przyglądam się także postaciom Łazarza i Orfeusza jako archetypom. Rozdział trzeci poświęcony jest Claude'owi Ridderowi, jako kolejnej postaci łazarzowej w twórczości francuskiego reżysera. W rozdziale czwartym rozważam motywy postępowania Claude’a Riddera i ich tragiczne następstwa. Pracę kończy rozdział piąty, w którym na plan pierwszy wysuwa się motyw orficki. W tym rozdziale odwołuję się do filmów innych reżyserów (Chrisa Markera i Jeana Cocteau), które stanowiły inspirację dla Alaina Resnais jako autora „Je t'aime, je t'aime”.
This dissertation is devoted to the analysis of the main character of “Je t’aime, je t’aime”, Claude Ridder. It consists of a two-way interpretation of Claude Ridder as a personage: pertaining to the archetypical Orpheus, and “homo lazarus” – the figure established by Jean Cayrol, on which I focus in the second chapter. It is predated by the introduction, in which I point the evolution of Alain Resnais as an artist, thus I focus on his documentary and feature films, as they have same motives in common, these are: the death, the love, the memory.In chapter one, I compare the thesis created by Jean Cayrol, and Maurice Blanchot, in view to find the leading character type in the post-war literature. These are: Orpheus and Lazarus, both regarded as archetypical.The third chapter is devoted to the study of Claude Ridder, as “homo lazarus”, though he is not the first one appearing in the oeuvres by the French director.In chapter four, I try to clarify the causes and consequences of Claude Ridder’s tragedy.In the fifth, the last chapter, I focus on the orphic myth adapted to the movie by other directors (Chris Marker and Jean Cocteau), which were a very great inspiration for Alain Resnais, as the author of “Je t’aime, je t’aime”.
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

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