DC pole | Wartość | Język |
dc.contributor.author | Zawojski, Piotr | - |
dc.date.accessioned | 2020-07-10T11:43:58Z | - |
dc.date.available | 2020-07-10T11:43:58Z | - |
dc.date.issued | 2020 | - |
dc.identifier.citation | "Przegląd Kulturoznawczy" nr 1 (2020), s. 122-132 | pl_PL |
dc.identifier.issn | 1895-975X | - |
dc.identifier.issn | 2084-3860 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/15116 | - |
dc.description.abstract | Thomas Bernhard was not an expert
in photography, its history and especially theory.
He never dealt with the discursive description
of her phenomenon. However, in his last
great novel, Extinction (1986), he made several
photos a kind of memory trigger and a center for
building a story. The article deals with the issue
of a special, extremely critical, not to say iconoclastic,
assessment of the role of photography
as a medium of stupefying people who succumb
to its seductive power. The analysis of the fragments
of photography appearing in the novel is
just a starting point for deeper reflection on the
impossibility of erasing photography as a medium
of memory, it is a fundamental polemic with
the thesis of the novel narrator, which the author
identifies with the author himself. Here, Thomas
Bernhard’s Extinction is an excuse to reflect
on how photography and photographing
can be considered a disease of our time, as the
Austrian writer anticipated in his novel in the
eighties of the last century. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.rights | Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | Thomas Bernhard | pl_PL |
dc.subject | photography | pl_PL |
dc.subject | Extinction | pl_PL |
dc.subject | picture | pl_PL |
dc.title | Thomas Bernhard i fotografia. Wokół "Wymazywania" i nie tylko | pl_PL |
dc.type | info:eu-repo/semantics/article | pl_PL |
dc.identifier.doi | 10.4467/20843860PK.20.008.11936 | - |
Pojawia się w kolekcji: | Artykuły (W.Hum.)
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