Wędrówki po definicjach.Znaczenia terminów „nowoczesny”/„nowoczesność”/„modernizm”

The main task of the present article is to characterize the changing perspectives in the description and definition of modernism and modernity in a reciprocal relationship of these two categories. The creation of definitions is described here as a processes of fictionalization with a generational viewpoint of scholars. Moreover, the article indicates the difference between a nominal and a relational mode of defining and the question of institutionalization of knowledge within the framework of definition projects. Such research perspectives lead to the conclusion about dialogical and at the same time contradictory character of historical formations of phenomena to which the studied terms allude

„Jak stać się lustrem tej nowoczesności?” Planetarność, periodyzacja i nowe studia modernistyczne

The main task of this article is to enter into discussion with a concept of modernism as an expressive dimension of modernity by Susan Stanford Friedman. In place of statements of epistemological nature, the author of the article proposes ontological questions and return to such an understanding of modernism which would primarily stress a specific Anglo-Saxon modernity. This kind of a historically motivated definition should protect the coherence of modernism as a research subject.The main task of this article is to enter into discussion with a concept of modernism as an expressive dimension of modernity by Susan Stanford Friedman. In place of statements of epistemological nature, the author of the article proposes ontological questions and return to an understanding of modernism which would primarily stress a specific historical, global modernity. This kind of a historically motivated definition should protect the coherence of modernism as a research subject

Nowe studia modernistyczne

The main task of this article is to describe the new situation of modernist studies at the turn of the 20th century and an attempt to position this description in a broader history of criticism of modernism in art. The transformations in the studies into modernist literature have been characterized here in three aspects: expanding the time frame (going beyond the basic period of modernism from the end of the 19th c. until 1930s), spatial dimension (abandonment of a privileged position of research into West European and American modernism in favour of a transnational perspective) and vertical dimension (connected with the necessity to rethink the relationship high art-low art, and also the influence of mass media upon modernist literature)

Three Voices about the Book by Włodzimierz Bolecki Modalności modernizmu (Modalities of Modernism)

The text is a commentary on the book Modalności modernizmu (“Modalities of Modernism”) by Włodzimierz Bolecki which is regarded here as a pioneer synthesis. The authors bring attention to Bolecki’s model of thinking about Central and Eastern European modernism and ponder about the new perspectives that this model opens up. Special emphasis is put on the questions of methodology and training of a new generation of interpreters who should be equipped with the competences essential for conducting this type of research. Also, the attention is brought to cognitive benefits resulting from the perspective combining the description of the typical features of not only Polish modernism but also the Modernisms of the countries of Central and Eastern Europe, and especially, which is ever more evident in this context, not self-evident, unique character of Polish literature of the 19th and 20th centuries and the Polish turn towards modern culture in the studies of the recent decades. A broader presentation of a regional perspective which is suggested in the book by Bolecki, could help to explain the empty space on the map of parallel transformations in close, and yet individually different countries of the region, forcing us to revise our previous ways of thinking about literature and culture of modernism, as well as the languages of its description

Od Redakcji

Introduction to the theme of the journal: "Renewal of modernism"

Narration and the production of meaning in neomodernism

This essay analyzes the narration strategies and methods of making meanings in neo-modernism movement. Filmmakers, who are its representatives, prefer the opposite model of cinematic communication which is commonly used in mainstream movies. The article begins with the definition of neo-modernism and description of key components that provide specific forms of narration and reception. Moreover, there were presented main terms related to the modernism and so-called slow cinema. In main fragments of the essay the author focused on some neo-modernist crime stories, which have been created through different, than in traditional cinema, methods of making meaning. Then, there were analyzed such elements of cinematic style as: use of off-screen space and non-conventional concepts of narrative ellipsis.Zadaniem artykułu jest przeprowadzenie analizy narracji i sposobów produkcji znaczeń w filmowym neomodernizmie. Podejmowane w ramach tej formacji strategie inscenizacyjne stanowią rewers metod powszechnie używanych w kinowym mainstreamie. Esej rozpoczyna próba zdefiniowania, czym jest neomodernizm oraz czym się charakteryzuje – zarówno na płaszczyźnie narracyjnej, jak też odbiorczej. Ważnym elementem opisu stało się wprowadzenie terminologii związanej z filmowym modernizmem i tzw. slow-cinema. W głównych fragmentach eseju zostały poddane analizie neomodernistyczne kryminały, oparte na odrębnej, niż dzieje się w tradycyjnym kinie, produkcji znaczeń. Potem opisane zostały kluczowe strategie inscenizacyjne, w których priorytetowymi zadaniami było przeniesienie ważnych fabularnie zdarzeń w przestrzeń pozakadrową i niekonwencjonalny sposób wprowadzania elips czasoprzestrzennych.This essay analyzes the narration strategies and methods of making meanings in neo-modernism movement. Filmmakers, who are its representatives, prefer the opposite model of cinematic communication which is commonly used in mainstream movies. The article begins with the definition of neo-modernism and description of key components that provide specific forms of narration and reception. Moreover, there were presented main terms related to the modernism and so-called slow cinema. In main fragments of the essay the author focused on some neo-modernist crime stories, which have been created through different, than in traditional cinema, methods of making meaning. Then, there were analyzed such elements of cinematic style as: use of off-screen space and non-conventional concepts of narrative ellipsis

Koncert i kwestia czasu

The focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual.The focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual

Düalizm in Çatlama short story

“Küçük olan güzeldir” fikrini öne süren modern çağ zamanın hızına yetişmek için her şeyin küçüğünü, püf noktasını tercih eder. Modern çağnın ürünü olan küçürek öyküler de kısa fakat yoğun düşünceler gizleyen eser türleridir. Küçürek öyküler bu çağdaki olumsuz görünüşleri yansıtmakla bu olumsuzlukları dile getiren yazarın bir çığlığı olarak kabul edilir. Bir anlık zaman dilimini yansıtan öyküler karakterleri (genelde 1 ve 3 karakterden oluşur) açımlamaya, öğütte bulunmaya gücü yetmez, dolayısıyla küçürek öyküdeki tamamlanmamışlık olabilirliklere kapı açar. Şeza Bargus’un Çatlama küçürek öyküsü başlık dahil 22 sözcük, 4 tümceden oluşan düalist unsurlar barındırdığı öyküdür. Düalizm en genel anlamıyla birbirine bağlı fakat iki karşıt bir unsur, prensipdir. Öyküdeki düalizm de ikililiğe ve zıtlığa işaret ettiği gibi, birbirine bağlı iki karşı değerlerin bütünüdür. Bütünün, aslın ikiye bölünmesi, asıl olanın ortadan kalkmasıdır. Asıl olanın yok olması, hiçliğin veya sahteliğin ortaya çıkmasıdır. Dolayısıyla öyküdeki düalizm: a) Modernleşen insanın modernleşmekle gelenek ve göreneklerine, insanlık özelliklerine, ve kendine yabancı kalması; b) Anne karnındaki çocuğun kararsızlığı ve dünyaya gelmekte tereddütte ve ikililikte bulunması şeklinde çözümlenebilir. Anahtar Kelimeler: küçürek öykü, düalizm, modernizm, ötekileşme.The modern world suggesting the idea of “Small is beautiful” trying to keep up with the speed of time, prefers the point of everything. Short stories are the product of modern era that are short but includes intense thoughts. Problems in this age are reflected in short stories, thus short stories are considered like a call of the author. Short stories reflected a momentory period of time do not advice and explain characters, therefore the incompleteness opens the door to possibilities. The Çatlama short story by Şeza Bargus consists of 22 words with the title, and 4 sentences that included dualistic elements. Dualism is a factor that connected to each other, but the two oppising principles. The dualism in the story points out to duality and antinomy, thus the dualism is totality of interdependent two opposite values. Dividing of original means disappearing of original. Consequently, the dualizm of the story is explained further: a) By modernizing human stay away from traditions and customs, human characteristics and himself. b) Indecision of the unborn child and hesitation to come to this world