Subtitle:

Vol. 1 (2017) - Special Issue - English Edition

Publisher:

IBL PAN

Place of publishing:

Warszawa

Description:

21 cm ; Tekst pol., streszcz. ang.

Type of object:

Czasopismo/Artykuł

References:

1. M. Antonioni, “A Talk with Antonioni on His Films,” in The Architecture of Vision. Writings and Interviews, ed. C. di Carlo, G. Tinazzi and M. Cottina-Jones (Chicago: University of Chicago Press, 2007).
2. M. Antonioni, “Zaćmienie” [L’eclisse], in Scenariusze, trans. W. Gall (Warszawa: Wydawnictwa Artystyczne i Filmowe, 1989).
3. A. Badiou, N. Truong, Eloge de l’amour (Paris: Flammarion, 2009).
4. R. Barthes, “Dear Antonioni,” in Geoffrey Nowell-Smith, L’avventura (London: British Film Institute, 1997).
5. W. Benjamin, “Capitalism as Religion,” trans. Ch. Kautzer, in The Frankfurt School on Religion: Key Writings by the Major Thinkers, ed. Ed. Mendieta (Abingdon: Routledge, 2005).
6. P. Bonitzer, Le champ aveugle. Essais sur le réalisme au cinéma (Paris: Cahiers du Cinéma, 1999).
7. S. Cavell, The World Viewed: Reflections on the Ontology of Film (Cambridge, MA: Harvard University Press, 1979).
8. J.-L. Comolli, Cinéma contre spectacle (Paris: Editions Verdier, 2009).
9. G. Deleuze, Cinema 2: The Time-Image (London: Athlone Press, 1999).
10. G. Deleuze, F. Guattari, L’Anti-Oedipe. Capitalisme et schizophrénie (Paris: Editions du Minuit, 1972).
11. G. Deleuze, F. Guattari, Mille plateaux. Capitalisme et schizophrénie, II (Paris: Editions du Minuit, 1980).
12. M. Heidegger, “The Age of the World Picture,” in Off the Beaten Track, trans. J. Young and K. Hayes (Cambridge: Cambridge University Press, 2002), 57-72.
13. J. Lacan, “Position of the Unconscious,” trans. B. Fink, in Reading Seminar XI. Lacan’s Four Fundamental Concepts of Psychoanalysis, ed. R. Feldstein, B. Fink, and M. Jaanus (New York: State University of New York Press, 1995).
14. J. Lacan, Le séminaire. Livre X: L’angoisse (Paris: Editions du Seuil, 2004).
15. K. Marx, F. Engels, The Communist Manifesto: A Modern Edition (London: Verso, 2012).
16. Ch. Metz, “Le cinéma moderne et la narrativité”, in Essais sur la signification au cinéma, vol. 2 (Paris: Klincksieck, 1983).
17. J. Moure, Michelangelo Antonioni. Cinéaste de l’évidement (Paris: L’Harmattan, 2001).
18. J. Moure, Vers une esthétique du vide au cinéma (Paris: L’Harmattan, 2000).
19. P. P. Pasolini, “The Cinema of Poetry,” in Movies and Methods, vol. 1, ed. B. Nichols (Berkeley: University of California Press, 1976).
20. P. P. Pasolini, “Je défends Le Désert rouge,” in Ecrits sur le cinéma. Petits dialogues avec les films (1957-1974), trans. H. Joubert-Laurencin (Paris: Cahiers du Cinéma, 2000), 128-129.
21. M.-C. Ropars-Wuilleumier, “L’espace et le temps dans l’univers d’Antonioni,” Etudes cinématographiques (Michelangelo Antonioni, l’homme et l’objet) 36-37 (1964) : 115.
22. T. Różewicz, “avalanche,” trans. J. Trzeciak, accessed March 24, 2017, http://littlestarjournal.com/blog/2011/02/rozewicz-comes-to-america-ii//.
23. J. Rhym, “Towards a Phenomenology of Cinematic Mood: Boredom and the Affect of Time in Antonioni’s L’eclisse,” New Literary History 43 (2012): 480.
https://doi.org/10.1353/nlh.2012.0027

Relation:

Teksty Drugie

Issue:

1

Start page:

158

End page:

176

Detailed Resource Type:

Artykuł naukowy oryginalny

Format:

application/pdf

Resource Identifier:

oai:rcin.org.pl:66412 ; 0867-0633 ; 10.18318/td.2017.en.1.10

Source:

IBL PAN, sygn. P.I.2524 ; click here to follow the link

Language:

eng

Language of abstract:

Rights:

Prawa zastrzeżone - dostęp nieograniczony

Terms of use:

Zasób chroniony prawem autorskim. Korzystanie dozwolone w zakresie określonym przez przepisy o dozwolonym użytku.

Digitizing institution:

Instytut Badań Literackich Polskiej Akademii Nauk

Original in:

Biblioteka Instytutu Badań Literackich Polskiej Akademii Nauk

Access:

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