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O u-śmiechu biologicznie i memetycznie
(Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski, 2009) Wężowicz-Ziółkowska, Dobrosława; Borkowski, Wojciech; Uniwersytet Śląski w Katowicach; SWPS Uniwersytet Humanistycznospołeczny; Uniwersytet Warszawski
As Irenaus Eibl-Eibesfeldt has noticed, laugh and smile are behaviours, which manifest itself homo sapiens kind through all representatives, from the first week of life and on the elementary level, which means the same for every culture. Authors has trying to prove, that laugh and smile belong to biological sphere of life, not only for animals but also for humans. Authors affirm, just because the laugh and smile are "demonstration" in the biological way of thinking, their mechanism and role has defined as genetic. On the other side, in Van Hoof's opinion expressed sound, called smile and laugh in present day signify - as defense imminent under the influence of fear, or scream with exposed fore-teeth. This figure has informed about extreme fear, submission, and also readiness by desperate attack. These signals are characterized as dominant effect in monkeys culture. Especially moment, which present imminent grimace with rhythmical and synchronized sounds. Mainly it describes collective act of aggression. Van Hoof thinks, that equivalent of this behaviour is exactly human noisy laugh. Without evolutionary reason, laugh is communicable. Moreover, laugh has known as sensible, restorative social bonds, and not rarely aggressive - especially hostile-minded against someone. We often make laugh at someone, and we often forgot, that in this way we delimited - this border line, called self/other. Almost everybody was once a partaker in this kind of social process. In this dispute, authors shows, that smile and laugh are established in arts. The Replic of Mona Lisa's smile is still very popular, especially with appearance networks as for example 'google'. Unquestionable, one reason of popularity Mona Lisa's smile proclaim fact, that it is possible to find three millions answers, when we put catchword 'Mona Lisa' in 'google'. The Authors ask - why this image of mysterious smile didn't disappear though beyond another culture information ? It is one sensible answer for this question - it happened this way, because it owed for Jung's theory, which concern on archetypes and symbols. From here, this what makes sure about constancy the most famous smile is an archetype and the recognizing the own name of the Image begun the independent meme - authors has confirmed. For the question, which ask for reasons as many mimeographs as culture information, strait understanding of memetics give only one answer - it is an effective meme.
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Śmiech (z) poety. O wierszach Zygmunta Karskiego i ich odbiorze
(Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski, 2009) Szawerna-Dyrszka, Anna; Uniwersytet Śląski w Katowicach
The essay seems to be project not about only Zygmunt Karski's creativity but also about cruel criticism reading of his famous work "Spring in Paris". Lots of critics saw in his poetry vulnerable point, for example - metaphors, representation and form looked like Słowacki's works. Otherwise, Karski's poetry had "misty" romantic pathos. The most strict critic - Janusz Jędrzejewicz judged erotic poems from volume "Sparkling morning" as unauthentic, youthful and naive. The First main abuse concerned about love them, critics accused impressionistic mood and reaching to modernistic tradition. The second one involved of misunderstood his poetry. They also wrote, that Karski's poetry must came out of maze unlimited intuition. That's why "Spring in Paris" was curious poem, author makes an experiment trying to refresh look. Karski's poetry stands in constant dialogue with erotic treatment of body. He used weird, unpredictable associations. Weird and controversial metaphors, which are connected with logical dreaming and frivolous imagination. In fact erotic turn into obsession and whole poem - moral and literary scandal. Although this kind of poetry made by specific style sounds like grotesque, but maybe that is the reason, which proclaim about innovative structure and composition. Author concede, that the most Karski's poems haven't got coherent composition, but this is positive aspect called unintentional comic.
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Ziemia z uśmiechu Eumenid. Temat genius loci jako filozofia hikezji
(Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski, 2009) Kadłubek, Zbigniew; Uniwersytet Śląski w Katowicach
In this project Kadłubek's essay stand in constant dialogue with one of the infrequent reading and annotate classical tragedy of Sophocles - "Oedipus at Kolonos". But before the main dispute he prepares some comments, which are the introduction to genius loci (the guardian spirit of the place). The attentive reader should be able to monitor other discourses of ideas that open into the project of this volume. Kadłubek quotes Tadeusz Sławek's essay - "City of Godforsaken"- treat about genius loci like the important passage which we're crossed out of the temporary direct. He persists to one word "temporary", because his dispute will follow not about subject but noun. He's interests in abandon analysis of essential differences between these forms. Temporary define the present which is associate with the world. The presence of the hic et nunc is potentially fundamental aspect in the contact with movement or dynamic. That's the reason why genius loci is crossing line of the temporary. Temporary is also form of passing and form of the visible produce space and time. Reader will come across a description of apparently episodic history of treatment genius loci like oicology (ecology). This reflection constitute about idea of place, which is "space without a place" instead. Kadłubek signals theory of Marc Auge. He's the first, who used term considering with difference between understanding place and not-place (non-lieux). The next subsequent sketch develop of the Auge's theory. He shows analytical examples dealing with places, which are unstable. They're more like provisional station, scatter, beyond definition, place without permanent form than place with the settling. It's not even clear, if they need structure like this? Maybe it's enough for them to keep as empty form with possibility free place for the meeting? One thing is sure - confirm Kadłubek - non-lieux are putting in the central area. They're the most important impulses, which produce life energy. Also they're the main places which provide energy for city, society and living space. Kadłubek was trying to define genius loci as well as relation full of meetings, arrivals, removals and passing. Undoubtedly non-lieux after a while will be place, but for sure we can thinking about genius loci as drifter spirit.
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Śmiech, łzy i fanfaronada. Filmowa commedia all'italiana w latach 1940-1969
(Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski, 2009) Miczka, Tadeusz; Uniwersytet Śląski w Katowicach
The Comedy existed in the Italian cinematography as meaningful national genre. She was born in the second world war time. During time full of violence, when dominated beggary and terror, cinema provided the entertainment for people. In the meantime, made of more than 200 comedies and 20 comical movies. That was a comedies based on theatre pieces. These movies referred to comedy dell'arte, folk theatre and variety forms. It showed richness of folklore, regional cantors and regional morality code. Mostly directors has patterned their own movies upon American sophisticated comedy. Author has convinced, poetics of the humour was useful to leading political dispute, which concerned about nations between Christian democratic and Italian communistic party. Commedia all'italiana has purchased in the reality world, it used new-realism elements such as: caricature, parody, irony and cynicism. Also it used traditional movie cods, it neutralized more historical, social and political elements of new-realism program. These Comedies proclaimed praise of imagination (what was impossible in new-realism theme) and presented world on the screen, which was much more unreal. Strategy of sentiments, continuous laugh and crying of characters has condensed reality expression, covered up a line between world, which exist for real and reproductive, re-constructed world. In the time of 60's, Italian comedy didn't achieve high artistic level. Accordingly with Charles Baudelaire's thought - Italian joke smells as latrine and whore-house. These words often quoted from Italian critics, they insisted, that in comedies has dominated cynicism without idea and primitive eroticism. The Author has punctuated, from halftime of 60's, Italian comedy has begun extreme transformed their own conventions and genres. The example of documentary evidence and changes were De Siko's and Germie's movies. The Greatest changes in to the structures of genres made by Comencini and Risi. They concentrated on pointed humour and bluff joke, also instead of comedies effects they paid attention on serious problems. Risi was the one, who presented in these movies, satirical and also frightening picture of the nation and modern civilization. He put to the comedy thriller's poetic elements and transformed real world into the nightmare. Fanfaron and Monstrapresents this kind of poetic. In the Risis's comedies often exposed death. The Author has proved, that it was a bitter laugh, which had the beginning in the grotesque vision of world. His screen image lost their natural concrete and has begun much more abstractive. This dispute shows, that comedy all'italiana found in the trap. It stopped making laugh and smile, instead made confusion, anxiety, nervousness and irritability even than disgust.
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Gorzki śmiech, dreszcze i szaleństwo. Filmowa commedia all'italiana w latach 1970-1989
(Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski, 2009) Miczka, Tadeusz; Uniwersytet Śląski w Katowicach
In the time of 70's Italian and foreign critics thought about possibility of existence comedy movie all'italiana. Turn of the unmodernised time, comedy movie all'italiana will come into impure hybridize form. The deepest transformation give way for comedy of manners. Directors bravely trespass on politic sphere and kitsch, movie scribblers and pornography. Old masters of this genres has duplicated typical features schematic diagrams, they used incompetent narrative techniques and different kind of instrumentality, which came from the artistic cinematography. They made of movies, which contained another genres and conventions. In every year performed more than thirty premieres the new comedy of manners, but the most of them entertained shortly on the movie screen. Definitely in that time, Luigi Comencini's sense of humour was very poor. It was a disaster and shock, because he could make laugh even choosy spectator. In his movies, moral scenes for example: in Play of illusion (Lo scopone scientifico) sometimes made laugh, but it was without deep meanings. The More than better stylist in the comedy of 70's was Mario Monicelli. He could make shivering of the feelings and additionally fear. Monicelli illustrated tales, which consisted of compassionate irony. These tales presented conversions, which set in the mentality and moral in the Italian society. The author has confirmed, that important voice in this dispute belonged to Monicelli. In his comedies appeared usual people, who felt lost and they outlived personal drama of loneliness in the crowd of friends, relatives and familiars. Comedy situations played in the existentialism sense of nothingness, hopeless. These situations made laugh of confused, fear and sadness. For example movie called The Little philistine didn't make laugh, but the shiver of terror tend to thriller. The Author has convinced, that typical Italian comedy characterized deep anxiety and sophisticated acting, which was concern on changing moods and delicate irony. On the next decade, Italian critics and foreign critics tried to return to the fundamental question - Have the comedy already end? This question was an uneasy question, which made that critics more and more have watched process of expansion in the Italian cinematography. Especially, they have watched Risis's or Comencini's creativity, who just stopped make laugh spectators and stopped make comedies. Critics looked for comedy situation, which have showed universal and social themes, in which everybody could find something for itself. As the author confirmed - they looked for these things, which Nitchetti's presented on the screen. Also as the author thinks, these opinions, view on the comedy artists and their own making movies constitute another reflection, than commedia all'italiana.

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Publisher: Instytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląski Start date: 2005 End date: 2009 Affiliation: Uniwersytet Śląski w Katowicach
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