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Stanislaw Brzozowski and the Migration of Ideas
Jens Herlth, Edward M. Świderski (eds.) Stanisław Brzozowski and the Migration of Ideas Lettre Jens Herlth, Edward M. Świderski (eds.) with assistance by Dorota Kozicka Stanisław Brzozowski and the Migration of Ideas Transnational Perspectives on the Intellectual Field in Twentieth-Century Poland and Beyond This volume is one of the outcomes of the research project »Standing in the Light of His Thought: Stanisław Brzozowski and Polish Intellectual Life in the 20th and 21st Centuries« funded by the Swiss National Science Foundation (project no. 146687). The publication of this book was made possible thanks to the generous support of the »Institut Littéraire Kultura«. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for com- mercial use, further permission is required and can be obtained by contacting [email protected] Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. -
2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
Red Dragon, the Cleft-Lip, and the Politics of Recognition
The Monster Without: Red Dragon, the Cleft-Lip, and the Politics of Recognition Timothy D. Harfield Rarely represented in popular film, the cleft lip and palate is more often than not used as the locus of some kind of monstrosity. Of films featuring characters affected by cleft lip and palate, for example, at least five figure them as agents of violence or death. From the school bully,1 to a hired killer,2 to a serial killer,3 to a zombie,4 it is common to use the cleft lip as a cue for menace, or as a thing to be feared. On the other side of violence, the recent film Psycho Beach Party5 features a young girl with a cleft lip as the first to be killed by a serial killer targeting youth with disabilities. Even the Swedish film Den Enfoldige Mördaren,6 or "The Simple-minded Murderer," acclaimed for the sympathetic portrayal of its protagonist, features a killer with a cleft lip. Following in this tradition, the recent film Red Dragon7 features a serial killer whose cleft lip is the primary factor motivating his murderous behaviour. Although the film initially capitalizes upon the tradition of linking cleft lip and palate with homicidal psychopathy, however, it does so through a keen awareness of the politics of identity formation, and so has the effect of ultimately shifting the locus of monstrosity away from the cleft lip, and toward those social systems of 1 Frank Whaley, Joe the King (USA: Lions Gate, 1999), videorecording. 2 Frank Tuttle, This Gun for Hire (USA: Universal Studios, 1942), videorecording. -
308 "The Great Red Dragon" FINAL DRAFT 01/26/15 2
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis !Executive Producer: Steve Lightfoot “The Great Red! Dragon” Written by Nick Antosca & Steve Lightfoot and Bryan !Fuller Directed by Neil Marshall! ! Based on the characters created by Thomas !Harris ! ! ! ! ! Episode #308 Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2015 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL "The Great Red Dragon" TEASER SURFACE OF A DESERT PLANET A craggy, dry, arid landscape. Patterned ridges alternate with troughs as deep as canyons. A sense of aridness and desolation. It feels a thousand years old. CAMERA VERY SLOWLY PULLS OUT, moving upward, revealing this is no landscape... as the ridges resolve into -- THE CREASED SKIN OF A MAN'S KNUCKLE. PULL EVEN FURTHER OUT, and the back of a hand comes into view. The hand rests on a Formica table, beside a magazine. It is a strong, well-formed hand. But not a young one. Every wrinkle and crease is detailed in CRISP FOCUS. To look on this hand is to be aware of its age, its imperfections. Now reveal the man staring down at it -- its owner: FRANCIS DOLARHYDE. Dolarhyde, early 40s, is a large man, strong, muscular. With a hint of vulnerability and diffidence. The look in his eyes as he gazes down at that hand -- as if suddenly really seeing it for the first time -- might be mournful, fearful or both. -
Late Poetry of Tadeusz Różewicz
Modes of Reading Texts, Objects, and Images: Late Poetry of Tadeusz Różewicz by Olga Ponichtera A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Slavic Languages and Literatures University of Toronto © Copyright by Olga Ponichtera 2015 Modes of Reading Texts, Objects, and Images: Late Poetry of Tadeusz Różewicz Olga Ponichtera Doctor of Philosophy Department of Slavic Languages and Literatures University of Toronto 2015 Abstract This dissertation explores the late oeuvre of Tadeusz Różewicz (1921-2014), a world- renowned Polish poet, dramatist, and prose writer. It focuses primarily on three poetic and multi-genre volumes published after the political turn of 1989, namely: Mother Departs (Matka Odchodzi) (1999), professor’s knife (nożyk profesora) (2001), and Buy a Pig in a Poke: work in progress (Kup kota w worku: work in progress) (2008). The abovementioned works are chosen as exemplars of the writer’s authorial strategies / modes of reading praxis, prescribed by Różewicz for his ideal audience. These strategies simultaneously reveal the poet himself as a reader (of his own texts and the works of other authors). This study defines an author’s late style as a response to the cognitive and aesthetic evaluation of one’s life’s work, artistic legacy, and metaphysical angst of mortality. Różewicz’s late works are characterized by a tension between recognition and reconciliation to closure, and difficulty with it and/or opposition to it. Authorial construction of lyrical subjectivity as a reader, and modes of textual construction are the central questions under analysis. This study examines both, Tadeusz Różewicz as a reader, and the authorial strategies/ modes he creates to guide the reading praxis of the authorial audience. -
SID8 Ebook.Pdf
Redaktor naczelny / Chief Editor – âukasz Guzek Wspóãpraca wydawnicza / Co-publishing Sekretarz Redakcji / Managing Editor – Maãgorzata Kaćmierczak InterAkcje, 15 Miądzynarodowy Festiwal Sztuki Akcji www.interakcje.org Redakcja / Editorial Board Druk / Print Józef Robakowski, Aurelia Mandziuk-Zajĉczkowska, Adam Klimczak, DRUKARNIA B3PPROJECT, ul. Sobieskiego 14, 80-216 GdaĎsk Karolina JabãoĎska http://www.b3project.com Korekta w jďzyku polskim / Polish proofreading – Beata đniecikowska Dystrybucja / Distribution Redakcja przypisów i bibliografii / Notes & bibliographies – e-mail: [email protected] Maãgorzata Kaćmierczak Wydanie pisma Sztuka i Dokumentacja w wersji papierowej jest wersjĉ Tãumaczenie / Translation – Maãgorzata Kaćmierczak pierwotnĉ (referencyjnĉ) Korekta w jďzyku angielskim / English proofreading – Anne Seagrave / Maãgorzata Kaćmierczak Zapraszamy do wspóãpracy wszystkich zainteresowanych. Propozycje tematów i tekstów prosimy nadsyãaþ na adres siedziby redakcji. Prosimy Rada Naukowa / Board of Scholars – Ryszard W. KluszczyĎski, zapoznaþ sią z zaãoĈeniami redakcyjnymi i edytorskimi znajdujĉcymi sią Kristine Stiles, Anna Markowska, Slavka Sverakova, Leszek Brogowski, na stronie internetowej pisma. Artykuãy w piĊmie Sztuka i Dokumentacja Bogusãaw JasiĎski, Kazimierz Piotrowski, Tomasz Zaãuski, Tassilo von Blittersdorff sĉ recenzowane. Lista recenzentów i zasady recenzowania znajdujĉ sią Projektowanie, skãad / Design, typesetting – Norbert Trzeciak na stronie internetowej pisma. http://www.norberttrzeciak.com Ilustracje i materiaãy uzupeãniajĉce znajdujĉ sią na stronie: Projekt WWW / Webdesign – Anka LeĊniak http://www.journal.doc.art.pl/ilustracje.html Siedziba / Office All interested in collaboration are welcome. Suggestions of topics and ul. Wschodnia 29/3, 90-272 âódć / Poland texts should be sent to the e-mail address of the editor. We also kindly Tel./fax: +48 42 634 86 26 ask to read the notes on style that can be found on our journal’s web site. -
Tadeusz Kantor. Widma / Spectres
Tadeusz Kantor. widma / Spectres Kraków, 2020 KATALOG / CATALOGUE WYSTAWA / EXHIBITION WYDAWCA / PUBLISHED BY: KURATORZY / CURATORS: © Ośrodek Dokumentacji Sztuki Tadeusza Kantora CRICOTEKA Małgorzata Paluch-Cybulska, Michał Kobiałka Centre for the Documentation of the Art of Tadeusz Kantor CRICOTEKA ul. Nadwiślańska 2–4, 30-527 Kraków KOORDYNACJA / COORDINATION: tel. +48 12 442 77 70 Kamil Kuitkowski, Izabela Zawadzka (współpraca) e-mail: [email protected] ARANŻACJA WYSTAWY I PROJEKT GRAFICZNY DRUKÓW / DESIGN: www.cricoteka.pl Zbigniew Prokop, Krzysztof Kućma – Creator s.c. Kraków 2020 ISBN 978-83-61213-30-7 PRACE BUDOWLANE / CONSTRUCTION WORK: Marcin Drzewiński – f.u.h. VIOMAR, Andrzej Lis, Gerard Piasecki, Roman Piotrowski – Geppetto s.c. REDAKTORKA PROWADZĄCA / MANAGING EDITOR: OŚWIETLENIE I MULTIMEDIA / LIGHTING AND MULTIMEDIA: Magdalena Link-Lenczowska Mariusz Gąsior, Mariusz Potępa, Wydział Intermediów ASP w Krakowie / Faculty of Intermedia, Academy of Fine Arts in Kraków PROJEKT GRAFICZNY / GRAPHIC DESIGN: Zbigniew Prokop – Creator s.c. KONSERWACJA / CONSERVATION: ICOS KONCEPCJA / CONCEPTION: Małgorzata Paluch-Cybulska, Michał Kobiałka WSPÓŁPRACA / COOPERATION: Marzena Boniecka, Olga Curzydło, Justyna Droń, Monika Gniadek, REDAKCJA NAUKOWA / CONSULTING EDITOR: Magdalena Goszczyńska, Ewa Kaczmarczyk, Michał Lelek, Edyta Leszczyńska, Joanna Targoń Magdalena Link-Lenczowska, Aldona Mikulska, Aleksandra Mitura, Łukasz Mzyk, REDAKCJA / EDITING: Marcin Nowak, Agnieszka Oprządek, Marcin Pańtak, Barbara Pasterak, Magdalena Petryna -
Hannibal Lecter) Pdf, Epub, Ebook
RED DRAGON: (HANNIBAL LECTER) PDF, EPUB, EBOOK Thomas Harris | 432 pages | 07 May 2009 | Cornerstone | 9780099532934 | English | London, United Kingdom Red Dragon: (Hannibal Lecter) PDF Book Plot Keywords. External Sites. Added to Watchlist. Flautist John Rubinstein Lecter is visited by Will Graham, a gifted FBI agent who has the ability to empathize with psychopaths. The Musical Official Sites. Retrieved 13 June Believing Dolarhyde is dead, Graham's family moves back to the Florida home. Germany [1] United States [1]. The original hardcover and paperback editions mentioned Lecter being held in the "Chesapeake" hospital. Two days after the Leeds murders, agent Jack Crawford , Graham's mentor, goes to Graham's Marathon, Florida residence and pleads for his assistance; Graham reluctantly agrees. Molly Graham Philip Seymour Hoffman Dolarhyde then leaves the plant unseen and goes to Reba's house. Graham eventually realizes that the killer knew the layout of his victims' houses from their home movies, which he could only have seen if he worked for the film processing lab that developed them. Retrieved September 27, Universal Pictures [1] Imagine Corporation [1]. Back to School Picks. Graham later comforts her, telling her that there is nothing wrong with her, and that the kindness and affection she showed Dolarhyde probably saved lives. Francis Dolarhyde. Views Read Edit View history. Retrieved March 14, When it comes to The Silence of the Lambs and Hannibal's character, many people recall and remember the absolutely terrifying sequence in which Hannibal makes his prison escape. Here monsters have their grandeur, heroes their gravity. Color: Color DeLuxe. It is undoubtedly a horror movie, and its atmosphere is far more threatening than the one found in Silence. -
A Matter of Taste: Monstrosity, Consumption and Hannibal Lecter
ISSN 2319-5339 IISUniv.J.A. Vol.5(1), 1-9 (2016) A Matter of Taste: Monstrosity, Consumption and Hannibal Lecter Pramod K. Nayar Taste.The wine, the truffles. Taste in all things was a constant between Dr Lecter’s lives in America and Europe. Between his life as a successful medical practitioner and fugitive monster. (Hannibal 225) The monster, Jeffrey Jerome Cohen (1996: 7-12), among others, has proposed, is one who marks the outside, comes from an elsewhere. The monster is ‘not one of us’. He represents the limits of civilization and civility. Yet twentieth century’s most fascinating fictional monster, with his own cult following due to the TV series, is the very embodiment of civility and ‘high’ culture: Hannibal Lecter. Lecter, who makes his debut in Thomas Harris’ Red Dragon, finally gets to be the centrepiece of a series of horror-thrillers: TheSilence of the Lambs, Hannibal and Hannibal Rising. He is no alien or outsider though but rather, until he is caught, a Johns Hopkins Medical school graduate and respected clinical psychiatrist. LHM Ling notes: ‘Hannibal the Cannibal cannot remain an “alien” monster. He is, instead, a familiar, identifiable character: one of us. Put differently, the evil other now resides explicitly within’ (2004: 380, emphasis in original).Yet, Hannibal is unlike one of us for several reasons: he is a cannibal with a serious set of affectations, a man of supreme tastes in food, clothing, cars and drinks. He is extremely well-read in a wide variety of areas, from astronomy to gastronomy. He has an enviable knowledge of art and music. -
Episode 9 ...And the Woman Clothed With
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis !Executive Producer: Steve Lightfoot “…and the Woman Clothed! with the Sun” Written by Jeff Vlaming & Helen Shang and Bryan Fuller & Steve Lightfoot! Directed by John !Dahl ! Based on the characters created by Thomas !Harris ! ! ! Episode #309 Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2015 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL "...and the Woman Clothed with the Sun" TEASER INT. BSHCI - HANNIBAL LECTER'S CELL - DAY CAMERA SLOWLY PUSHES IN on the wall of secure glass, DRIFTING THROUGH one of the many holes that dot its surface, to find: HANNIBAL LECTER. He lies on his cot, asleep, his head propped on a pillow against the wall. Alexandre Dumas's Grand Dictionnaire de Cuisine is open on his chest. Eyes still closed, he takes a long slow breath through his nose, smelling the current of air that the CAMERA traveled. He opens his eyes. HANNIBAL That's the same atrocious aftershave you wore in court. Hannibal rises from the bed and approaches the wall as CAMERA reveals he is now standing face to face with WILL in profile; the thin line of glass between them makes it look as if they are disparate reflections in a mirror. WILL GRAHAM Hello, Dr. Lecter. HANNIBAL Hello, Will. (then) Did you get my note? WILL GRAHAM I got it. Thank you. HANNIBAL Did you read it before you destroyed it? Or did you simply toss it into the nearest fire? WILL GRAHAM I read it. -
Survey of Contemporary Horror Fiction Kendyll Clark Summer II 2006
Clark 1 Survey of Contemporary Horror Fiction Kendyll Clark Summer II 2006 Clark 2 Introduction What scares you? Fear manifests in many different ways for every being on this earth. However diverse these horrific episodes may be, there is one universal element common to every human experience: We all have fears. One avenue through which we can explore, identify and even vicariously experience our most primal fears is through horror fiction. H.P. Lovecraft said: The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psychologists will dispute, and their truth must establish for all time the genuineness and dignity of the weirdly horrible tale as literary form (www.quotationspage.com). Coupled with Lovecraft's fear of the unknown is the fear of any threat to our fragile mortality, fear of anything that may potentially cause physical harm to our being. This is a phobia innate to every person. The most precious and frail endowment of human existence is our ability to sustain and promote our humanity. When this gift is threatened in any way, shape or form, a fear is created. There are several ways through which we can more concretely define these fears, subcategories to the dread of any danger to our delicate subsistence. For example, fear of the unexplained. This phobia can be defined as dread of that which we cannot rationalize with existing or obtainable evidence. Another is the fear of the unseen. This phobia could be described as fright of something that is intangible or concealed. -
O Włoskiej Sztuce Futurystycznej Author
Title: Czas przyszły niedokonany : o włoskiej sztuce futurystycznej Author: Tadeusz Miczka Citation style: Miczka Tadeusz. (1988). Czas przyszły niedokonany : o włoskiej sztuce futurystycznej. Katowice : Wydawnictwo Uniwersytetu Śląskiego O WŁOSKIEJ SZTUCE FUTURYSTYCZNEJ Czas przyszły niedokonany O włoskiej sztuce futurystycznej PRACE NAUKOWE UNIWERSYTETU ŚLĄSKIEGO W KATOWICACH NR 984 Tadeusz Miczka Czas przyszły niedokonany O włoskiej sztuce futurystycznej Uniwersytet Śląski Katowice 1988 Redaktor serii: Kultura i Sztuka ELEONORA UDALSKA Recenzent JOZEF HEINSTEIN Spis treści Wprowadzenie Futurystyczne dialogi z czasem................................................. 7 Część pierwsza „Choroba na nowoczesność” — klucz do ideologii nowego wie- ku ....................................................................................................31 ROZDZIAŁ 1 Okolice przełomu . ........................................................................................ 31 ROZDZIAŁ 2 Wymiary futurystycznego dynamizmu.......................................................................38 ROZDZIAŁ 3 Perspektywy symultaniczności................................................................................... 56 Część druga Pasja i literatura................................................................................ 65 ROZDZIAŁ 1 Język (nie)okiełznany................................................................................................65 ROZDZIAŁ 2 Słowa na wolności......................................................................................................75