This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
Komiks jako całościowe zjawisko kulturowe umieszczone w interdyscyplinarnym kontekście, ich statu... more Komiks jako całościowe zjawisko kulturowe umieszczone w interdyscyplinarnym kontekście, ich status społeczno-kulturowy. Ewolucja praktyk kultury komiksu, ewoluujące środki ekspresji artystycznej powodują odmienne, nowe formy odbioru i reprodukcji.
This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
Death in Comics. Dying in the Eyes of a Child
This article attempts to describe a child's experie... more Death in Comics. Dying in the Eyes of a Child This article attempts to describe a child's experiences in dealing with death of a beloved person. Based on studies from fields of thanatology, the text analyzes "Burying of Lucia" by Benoit Springer and "When David Lost His Voice" by Judith Vanistendael. The author tries to describe how these works show and tame the concept of the death and dying.
A comics journey into a photographic archive
Based upon reflections by Bernt Österman and Danie... more A comics journey into a photographic archive Based upon reflections by Bernt Österman and Daniel Lawson, the article makes an attempt to analyse the hybrid form of the graphic novel "The Photographer", an extraordinary combination of drawings and photographs. An examination of the connections between these means of expression will shed light on the reasons which led the author to use photographs in his story. The paper aims to uncover the creative process followed by Emmanuel Guibert – the writer and illustrator of "The Photographer", responsible for creating a graphic novel about a journey of the photojournalist Didier Lefèvre. Separate sections on autobiographical photographs and biographical graphic novel will demonstrate the influence of the hybrid form on the interpretations of "The Photographer".
Will Eisner – Comic in the Shadows of Stereotypes
This paper is an attempt to analyze the thread... more Will Eisner – Comic in the Shadows of Stereotypes This paper is an attempt to analyze the threads associated with Antisemitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part is described graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game). The second part is devoted to comics in which he referred to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot).
"Groza w kulturze polskiej", red. R. Dudziński, K. Kowalczyk, J. Płoszaj
[PL]Szukanie grozy ukrytej w polskich komiksach wymaga od badacza sprawdzania
czasopism fantastyc... more [PL]Szukanie grozy ukrytej w polskich komiksach wymaga od badacza sprawdzania czasopism fantastycznych i tych poświęconych grom komputerowym, przeglądania rozsypujących się zinów oraz antologii komiksu historycznego. Artykuł jest wstępną próbą przyjrzenia się tej „skrywanej” grozie, pokazania, w jaki sposób, poprzez komiksy, można patrzeć na horror (ośmieszać go, przedstawiać charakterystyczne dla niego potwory w nowym świetle). W artykule zostały przeanalizowane komiksy humorystyczne (O zmroku, Zbyt długa jesień), które na różne sposoby starają się obśmiać panteon grozy. W tekście wyszczególniono tytuły bazujące na demonologii ludowej. Oprócz komiksów opierających się na innych źródłach, opisano opowieści stanowiące bardziej autorskie wizje horroru, takie jak "Diefenbach", "Morfołaki" czy "Phantasmata".
[EN]Vampires without castle listening to Burzum.
Horror in polish comicsWhen the researcher is looking for horror hidden in polish comics he is obliged to read many fantasy and video game magazines, historical comic anthologies and browse through crumbling zines. The article is an initial attempt to look at the „concealed” horror, showing how, through comic books, creators can look at horror genre (ridicule him, portray characteristic monsters in a new light). The article analyzed humour comics (O zmroku, Zbyt długa jesień) which in various ways trying to poke fun at horror pantheon. The text examines comics based on folk demonology. In addition to the comic books based on other sources, the article also examines more original visions of horror, such as Diefenbach, Morfołaki or Phantasmata.
Geralt in the captivity the of frame. Adaptation strategies and reception of polish comics about ... more Geralt in the captivity the of frame. Adaptation strategies and reception of polish comics about The Witcher The comic A Road of No Return from 1993 was the first attempt to bring the prose of Andrzej Sapkowski to other media. The authors of this album - Bogusław Polch and Maciej Parowski - had to cope with the literary original and meet the demands of fans of the saga. The article is an attempt to trace the vicissitudes of the comic adventures of Geralt the Witcher. The text contains descriptions of Polch and Parowski’s cycle, which to this day is a very emotional topic among polish fans, Wiedźmun – a parody by Tomasz Samojlik, associated with the game Reason of State by Michał Gałek, Arkadiusz Klimek and Łukasz Poller, and The Witcher: House of Glass created in the United States by Paul Tobin and Joe Querio. The authors focused on the aesthetics of these comics and their reception among fans.
Publication Name: "Kryptohistorie. Ukryte i utajone narracje w historii", red. R. Borysławski, A.... more Publication Name: "Kryptohistorie. Ukryte i utajone narracje w historii", red. R. Borysławski, A. Bemben, J. Jajszczok i J., Katowice 2014
Publication Name: "Złow w kinie. Bohaterowie, gatunki, twórcy", red. A. Drzał-Sierocka, Warszawa ... more Publication Name: "Złow w kinie. Bohaterowie, gatunki, twórcy", red. A. Drzał-Sierocka, Warszawa 2012
The world of Jan Švankmajer
Jan Švankmajer is one of the world’s leading creators of surrealist a... more The world of Jan Švankmajer Jan Švankmajer is one of the world’s leading creators of surrealist animations. In his works he touches upon the subjects linked to different concepts of culture or trends of art. The complexity and multilevelness of his artistic output, allows for wide spectrum of interpretation. The present lecture aims at discussing five aspects of Švankmajer’s movie productions, namely; body, objects, aggression, madness and childhood. The discussion lays stress on the surrealistic worldview, which strongly influences Švankmajer’s artistic creativity. First part is concerned with the manner of presenting physical aspect and creating new beings. Subsequent chapter focuses on the object of daily use, which Švankmajer dismisses from their functions, and which thereby receive a chance of engaging in new non-standard roles. Aggression is another theme, in the output of the artist it is developed on two levels; physical and verbal. The manner of depicting aggression in the world of Švankmajer proves the uncertain condition of man, as a living being. Chapter four describes madness, which is either seen as unhampered freedom, or becomes the reason for full control and repression. The last part of the lecture analyses the concept of childhood which operates in relation with the plot, means of presenting and perceiving the world by both; the director and the viewers.
This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
Komiks jako całościowe zjawisko kulturowe umieszczone w interdyscyplinarnym kontekście, ich statu... more Komiks jako całościowe zjawisko kulturowe umieszczone w interdyscyplinarnym kontekście, ich status społeczno-kulturowy. Ewolucja praktyk kultury komiksu, ewoluujące środki ekspresji artystycznej powodują odmienne, nowe formy odbioru i reprodukcji.
This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to ... more This paper is an attempt to trace the existence of Polish comic magazines published from 1990 to 1992. The article focuses on the content of magazines and promotional functions of their publishers, shows how selected titles tried to find their own place on the Polish publishing market after 1989.
Death in Comics. Dying in the Eyes of a Child
This article attempts to describe a child's experie... more Death in Comics. Dying in the Eyes of a Child This article attempts to describe a child's experiences in dealing with death of a beloved person. Based on studies from fields of thanatology, the text analyzes "Burying of Lucia" by Benoit Springer and "When David Lost His Voice" by Judith Vanistendael. The author tries to describe how these works show and tame the concept of the death and dying.
A comics journey into a photographic archive
Based upon reflections by Bernt Österman and Danie... more A comics journey into a photographic archive Based upon reflections by Bernt Österman and Daniel Lawson, the article makes an attempt to analyse the hybrid form of the graphic novel "The Photographer", an extraordinary combination of drawings and photographs. An examination of the connections between these means of expression will shed light on the reasons which led the author to use photographs in his story. The paper aims to uncover the creative process followed by Emmanuel Guibert – the writer and illustrator of "The Photographer", responsible for creating a graphic novel about a journey of the photojournalist Didier Lefèvre. Separate sections on autobiographical photographs and biographical graphic novel will demonstrate the influence of the hybrid form on the interpretations of "The Photographer".
Will Eisner – Comic in the Shadows of Stereotypes
This paper is an attempt to analyze the thread... more Will Eisner – Comic in the Shadows of Stereotypes This paper is an attempt to analyze the threads associated with Antisemitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part is described graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game). The second part is devoted to comics in which he referred to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot).
"Groza w kulturze polskiej", red. R. Dudziński, K. Kowalczyk, J. Płoszaj
[PL]Szukanie grozy ukrytej w polskich komiksach wymaga od badacza sprawdzania
czasopism fantastyc... more [PL]Szukanie grozy ukrytej w polskich komiksach wymaga od badacza sprawdzania czasopism fantastycznych i tych poświęconych grom komputerowym, przeglądania rozsypujących się zinów oraz antologii komiksu historycznego. Artykuł jest wstępną próbą przyjrzenia się tej „skrywanej” grozie, pokazania, w jaki sposób, poprzez komiksy, można patrzeć na horror (ośmieszać go, przedstawiać charakterystyczne dla niego potwory w nowym świetle). W artykule zostały przeanalizowane komiksy humorystyczne (O zmroku, Zbyt długa jesień), które na różne sposoby starają się obśmiać panteon grozy. W tekście wyszczególniono tytuły bazujące na demonologii ludowej. Oprócz komiksów opierających się na innych źródłach, opisano opowieści stanowiące bardziej autorskie wizje horroru, takie jak "Diefenbach", "Morfołaki" czy "Phantasmata".
[EN]Vampires without castle listening to Burzum.
Horror in polish comicsWhen the researcher is looking for horror hidden in polish comics he is obliged to read many fantasy and video game magazines, historical comic anthologies and browse through crumbling zines. The article is an initial attempt to look at the „concealed” horror, showing how, through comic books, creators can look at horror genre (ridicule him, portray characteristic monsters in a new light). The article analyzed humour comics (O zmroku, Zbyt długa jesień) which in various ways trying to poke fun at horror pantheon. The text examines comics based on folk demonology. In addition to the comic books based on other sources, the article also examines more original visions of horror, such as Diefenbach, Morfołaki or Phantasmata.
Geralt in the captivity the of frame. Adaptation strategies and reception of polish comics about ... more Geralt in the captivity the of frame. Adaptation strategies and reception of polish comics about The Witcher The comic A Road of No Return from 1993 was the first attempt to bring the prose of Andrzej Sapkowski to other media. The authors of this album - Bogusław Polch and Maciej Parowski - had to cope with the literary original and meet the demands of fans of the saga. The article is an attempt to trace the vicissitudes of the comic adventures of Geralt the Witcher. The text contains descriptions of Polch and Parowski’s cycle, which to this day is a very emotional topic among polish fans, Wiedźmun – a parody by Tomasz Samojlik, associated with the game Reason of State by Michał Gałek, Arkadiusz Klimek and Łukasz Poller, and The Witcher: House of Glass created in the United States by Paul Tobin and Joe Querio. The authors focused on the aesthetics of these comics and their reception among fans.
Publication Name: "Kryptohistorie. Ukryte i utajone narracje w historii", red. R. Borysławski, A.... more Publication Name: "Kryptohistorie. Ukryte i utajone narracje w historii", red. R. Borysławski, A. Bemben, J. Jajszczok i J., Katowice 2014
Publication Name: "Złow w kinie. Bohaterowie, gatunki, twórcy", red. A. Drzał-Sierocka, Warszawa ... more Publication Name: "Złow w kinie. Bohaterowie, gatunki, twórcy", red. A. Drzał-Sierocka, Warszawa 2012
The world of Jan Švankmajer
Jan Švankmajer is one of the world’s leading creators of surrealist a... more The world of Jan Švankmajer Jan Švankmajer is one of the world’s leading creators of surrealist animations. In his works he touches upon the subjects linked to different concepts of culture or trends of art. The complexity and multilevelness of his artistic output, allows for wide spectrum of interpretation. The present lecture aims at discussing five aspects of Švankmajer’s movie productions, namely; body, objects, aggression, madness and childhood. The discussion lays stress on the surrealistic worldview, which strongly influences Švankmajer’s artistic creativity. First part is concerned with the manner of presenting physical aspect and creating new beings. Subsequent chapter focuses on the object of daily use, which Švankmajer dismisses from their functions, and which thereby receive a chance of engaging in new non-standard roles. Aggression is another theme, in the output of the artist it is developed on two levels; physical and verbal. The manner of depicting aggression in the world of Švankmajer proves the uncertain condition of man, as a living being. Chapter four describes madness, which is either seen as unhampered freedom, or becomes the reason for full control and repression. The last part of the lecture analyses the concept of childhood which operates in relation with the plot, means of presenting and perceiving the world by both; the director and the viewers.
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Papers by Łukasz Słoński
This article attempts to describe a child's experiences in dealing with death of a beloved person. Based on studies from fields of thanatology, the text analyzes "Burying of Lucia" by Benoit Springer and "When David Lost His Voice" by Judith Vanistendael. The author tries to describe how these works show and tame the concept of the death and dying.
Based upon reflections by Bernt Österman and Daniel Lawson, the article makes an attempt to analyse the hybrid form of the graphic novel "The Photographer", an extraordinary combination of drawings and photographs. An examination of the connections between these means of expression will shed light on the reasons which led the author to use photographs in his story. The paper aims to uncover the creative process followed by Emmanuel Guibert – the writer and illustrator of "The Photographer", responsible for creating a graphic novel about a journey of the photojournalist Didier Lefèvre. Separate sections on autobiographical photographs and biographical graphic novel will demonstrate the influence of the hybrid form on the interpretations of "The Photographer".
This paper is an attempt to analyze the threads associated with Antisemitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part is described graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game). The second part is devoted to comics in which he referred to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot).
czasopism fantastycznych i tych poświęconych grom komputerowym,
przeglądania rozsypujących się zinów oraz antologii komiksu
historycznego. Artykuł jest wstępną próbą przyjrzenia się tej „skrywanej”
grozie, pokazania, w jaki sposób, poprzez komiksy, można patrzeć na
horror (ośmieszać go, przedstawiać charakterystyczne dla niego potwory
w nowym świetle).
W artykule zostały przeanalizowane komiksy humorystyczne (O zmroku,
Zbyt długa jesień), które na różne sposoby starają się obśmiać panteon
grozy. W tekście wyszczególniono tytuły bazujące na demonologii ludowej.
Oprócz komiksów opierających się na innych źródłach, opisano
opowieści stanowiące bardziej autorskie wizje horroru, takie jak "Diefenbach",
"Morfołaki" czy "Phantasmata".
[EN]Vampires without castle listening to Burzum.
Horror in polish comicsWhen the researcher is looking for horror hidden in polish comics he is obliged to read many fantasy and video game magazines, historical comic anthologies and browse through crumbling zines. The article is an initial attempt to look at the „concealed” horror, showing how, through comic books, creators can look at horror genre (ridicule him, portray characteristic monsters in a new light).
The article analyzed humour comics (O zmroku, Zbyt długa jesień) which in various ways trying to poke fun at horror pantheon. The text examines comics based on folk demonology. In addition to the comic books based on other sources, the article also examines more original visions of horror, such as Diefenbach, Morfołaki or Phantasmata.
The comic A Road of No Return from 1993 was the first attempt to bring the prose of Andrzej Sapkowski to other media. The authors of this album - Bogusław Polch and Maciej Parowski - had to cope with the literary original and meet the demands of fans of the saga. The article is an attempt to trace the vicissitudes of the comic adventures of Geralt the Witcher. The text contains descriptions of Polch and Parowski’s cycle, which to this day is a very emotional topic among polish fans, Wiedźmun – a parody by Tomasz Samojlik, associated with the game Reason of State by Michał Gałek, Arkadiusz Klimek and Łukasz Poller, and The Witcher: House of Glass created in the United States by Paul Tobin and Joe Querio. The authors focused on the aesthetics of these comics and their reception among fans.
Jan Švankmajer is one of the world’s leading creators of surrealist animations. In his works he touches upon the subjects linked to different concepts of culture or trends of art. The complexity and multilevelness of his artistic output, allows for wide spectrum of interpretation. The present lecture aims at discussing five aspects of Švankmajer’s movie productions, namely; body, objects, aggression, madness and childhood. The discussion lays stress on the surrealistic worldview, which strongly influences Švankmajer’s artistic creativity. First part is concerned with the manner of presenting physical aspect and creating new beings. Subsequent chapter focuses on the object of daily use, which Švankmajer dismisses from their functions, and which thereby receive a chance of engaging in new non-standard roles. Aggression is another theme, in the output of the artist it is developed on two levels; physical and verbal. The manner of depicting aggression in the world of Švankmajer proves the uncertain condition of man, as a living being. Chapter four describes madness, which is either seen as unhampered freedom, or becomes the reason for full control and repression. The last part of the lecture analyses the concept of childhood which operates in relation with the plot, means of presenting and perceiving the world by both; the director and the viewers.
Publication Name: "Este" 2010
This article attempts to describe a child's experiences in dealing with death of a beloved person. Based on studies from fields of thanatology, the text analyzes "Burying of Lucia" by Benoit Springer and "When David Lost His Voice" by Judith Vanistendael. The author tries to describe how these works show and tame the concept of the death and dying.
Based upon reflections by Bernt Österman and Daniel Lawson, the article makes an attempt to analyse the hybrid form of the graphic novel "The Photographer", an extraordinary combination of drawings and photographs. An examination of the connections between these means of expression will shed light on the reasons which led the author to use photographs in his story. The paper aims to uncover the creative process followed by Emmanuel Guibert – the writer and illustrator of "The Photographer", responsible for creating a graphic novel about a journey of the photojournalist Didier Lefèvre. Separate sections on autobiographical photographs and biographical graphic novel will demonstrate the influence of the hybrid form on the interpretations of "The Photographer".
This paper is an attempt to analyze the threads associated with Antisemitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part is described graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game). The second part is devoted to comics in which he referred to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot).
czasopism fantastycznych i tych poświęconych grom komputerowym,
przeglądania rozsypujących się zinów oraz antologii komiksu
historycznego. Artykuł jest wstępną próbą przyjrzenia się tej „skrywanej”
grozie, pokazania, w jaki sposób, poprzez komiksy, można patrzeć na
horror (ośmieszać go, przedstawiać charakterystyczne dla niego potwory
w nowym świetle).
W artykule zostały przeanalizowane komiksy humorystyczne (O zmroku,
Zbyt długa jesień), które na różne sposoby starają się obśmiać panteon
grozy. W tekście wyszczególniono tytuły bazujące na demonologii ludowej.
Oprócz komiksów opierających się na innych źródłach, opisano
opowieści stanowiące bardziej autorskie wizje horroru, takie jak "Diefenbach",
"Morfołaki" czy "Phantasmata".
[EN]Vampires without castle listening to Burzum.
Horror in polish comicsWhen the researcher is looking for horror hidden in polish comics he is obliged to read many fantasy and video game magazines, historical comic anthologies and browse through crumbling zines. The article is an initial attempt to look at the „concealed” horror, showing how, through comic books, creators can look at horror genre (ridicule him, portray characteristic monsters in a new light).
The article analyzed humour comics (O zmroku, Zbyt długa jesień) which in various ways trying to poke fun at horror pantheon. The text examines comics based on folk demonology. In addition to the comic books based on other sources, the article also examines more original visions of horror, such as Diefenbach, Morfołaki or Phantasmata.
The comic A Road of No Return from 1993 was the first attempt to bring the prose of Andrzej Sapkowski to other media. The authors of this album - Bogusław Polch and Maciej Parowski - had to cope with the literary original and meet the demands of fans of the saga. The article is an attempt to trace the vicissitudes of the comic adventures of Geralt the Witcher. The text contains descriptions of Polch and Parowski’s cycle, which to this day is a very emotional topic among polish fans, Wiedźmun – a parody by Tomasz Samojlik, associated with the game Reason of State by Michał Gałek, Arkadiusz Klimek and Łukasz Poller, and The Witcher: House of Glass created in the United States by Paul Tobin and Joe Querio. The authors focused on the aesthetics of these comics and their reception among fans.
Jan Švankmajer is one of the world’s leading creators of surrealist animations. In his works he touches upon the subjects linked to different concepts of culture or trends of art. The complexity and multilevelness of his artistic output, allows for wide spectrum of interpretation. The present lecture aims at discussing five aspects of Švankmajer’s movie productions, namely; body, objects, aggression, madness and childhood. The discussion lays stress on the surrealistic worldview, which strongly influences Švankmajer’s artistic creativity. First part is concerned with the manner of presenting physical aspect and creating new beings. Subsequent chapter focuses on the object of daily use, which Švankmajer dismisses from their functions, and which thereby receive a chance of engaging in new non-standard roles. Aggression is another theme, in the output of the artist it is developed on two levels; physical and verbal. The manner of depicting aggression in the world of Švankmajer proves the uncertain condition of man, as a living being. Chapter four describes madness, which is either seen as unhampered freedom, or becomes the reason for full control and repression. The last part of the lecture analyses the concept of childhood which operates in relation with the plot, means of presenting and perceiving the world by both; the director and the viewers.
Publication Name: "Este" 2010