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Thematische Bibliographien / Krzysztof / Dissertationen

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Dissertationen zum Thema „Krzysztof“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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1

Filipec, Radim. „Krzysztof Kieslowski - Hledání skutečnosti“. Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78771.

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In my dissertation essay I am trying to analyse the relationship between a documentary and a feature film in the works of Krzysztof Kieślowski, their mutual interconnection and merger which intensively occurred in the early period of his creation. A progress from director - documentarist to the director of feature film. The advancement from recording reality to later efforts for its closest possible reconstruction in a fictional story. The reality which will become an important thought and inspiring material for the director but also a binding burden. His sensitive reception of the role of author - director in relation to his own works and mainly to the moral and ethical side of both professional and private life. These are the aspects of Kieślowski´s works I aimed to demonstrate on his particular films.

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2

Krones, Hartmut. „Krzysztof Penderecki und Wien“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70567.

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3

Jarzębska, Alicja. „Krzysztof Penderecki's 'Ars contrapuncti“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70767.

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4

Woda, Krzysztof [Verfasser]. „Elektronisches Geld / Krzysztof Woda“. Aachen : Shaker, 2003. http://d-nb.info/1170544347/34.

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5

Loos, Helmut. „Krzysztof Penderecki im deutschen 'Spiegel“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70570.

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6

Malecka-Contamin, Barbara. „Krzysztof Penderecki : style et matériaux“. Paris 8, 1996. http://www.theses.fr/1996PA080920.

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La recherche a pour theme krzysztof penderecki : style et materiaux. Elle s'organise et se presente sous trois angles d'approche correspondant aux trois parties respectivement intitulees : "histoire", "analyse", "concept". Dans la premiere, on se propose de donner quelques precisions sur la vie musicale en pologne apres la deuxieme guerre mondiale et sur l'evolution de la composition contemporaine de la musique dite savante. Dans la seconde partie, on procedera a l'analyse des elements du langage, du "sonorisme" et des rapports qu'entretient la partie musicale avec son equivalent litteraire. Enfin la troisieme partie destinee au concept de l'espace sonore va s'interesser a la dialectique du continu et du discontinu du discours sonore et aux relations qu'entretiennent la forme ecrite et la forme vecue de l'oeuvre de penderecki. La recherche, dont la methode est analytique, pour davantage de clarte dans l'evolution stylistique de penderecki, suit l'ordre chronologique de la publication des oeuvres
The theme of this research is k. Penderecki, his style and materials. Its organisation appears according to three different approaches corresponding to three different chapters. History analysis concept the first part intends to present a few pieces of information about musical life in poland after world war ii. It will also explain how the contemporaneous composition of the so-called scholarly music has evolved so far. A second part will carry out an analysis of the elements of language and of "sonorism" as well as of the relationship between the musical element and its litterary equivalent. In the end, the third part, intended for the idea of sound space will be the matter of the dialectif of continuum and discontinuity of sound expression and for the relationship between written representation and real life representation ofpenderecki's works. To make penderecki's stylistic evolution lighter, this research, with its analytic method, follows the chronology of his works publication

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7

Chérel, Emmanuelle. „Le Porte parole de Krzysztof Wodiczko“. Rennes 2, 2002. http://www.theses.fr/2002REN20019.

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Cette étude a pour thème le rôle social et politique de l'art contemporain. Pour appréhender ce sujet, nous avons décidé de nous pencher sur la manière dont Krzysztof Wodiczko conçoit l'art, qu'il définit comme une pratique socio-esthétique agissant au sein de la culture dans le but de la transformer. Ainsi, nous avons porté notre attention sur une de ses prestations esthétiques : "le Porte-parole" (1994). Pour l'artiste, cet Instrument destiné aux immigrés leur permet de prendre la parole dans l'espace public et de s'opposer à leur exclusion. Mais que peut signifier l'utilisation d'un objet esthétique? Comment se manifest-t-elle? A quelles "techniques de désaliénation" K. Wodiczko a-t-il recours? Quelles peuvent-être les conséquences de ce travail sur l'espace démocratique? En retraçant l'histoire de ce projet, nous nous attachons à décrire le mode d'apparition du Porte-parole, nous observons étape par étape (à partir notamment d'entretiens réalisés auprès des "performeurs/immigrés") les conditions de son utilisation et les effets qu'il produit sur ses utilisateurs. L'analyse des composantes et de la structure du signe, l'emploi des notions d'in situ, de performance, de fiction, l'usage de concepts appartenant aux champs de la psychanalyse, de la sociologie, de la linguistique, nous permettent de participer à la réflexion sur le rôle cognitif de l'art
This study takes as its theme the social and political role of contemporary art. In approaching this subject, we have decided to direct our attention to the way in Krzysztof Wodiczko which conceptualises art, which he defines as a social-aesthetic practice operating within the heart of culture with the idea of transforming it. We have thus focussed upon one of this artistic performances : the "Mouthpiece" (1994). For the artist, this Instrument made for immigrants allows them to speak out in the public domain and to opose their exclusion from it. But what could the use of such an aesthetic object signify? How will it present and reveal itself? To which techniques of de-alienation does Krzysztof Wodiczko have access? What could the consequences of this work be in a democratic arena? In retracing the history of the project, we commit ourselves to describing the way in which Mouthpiece presents itself we observe stage by stage (working, in particular, from the interviews that resulted from working closely with "performers/immigrants") the conditions of their use and the effects which they produce on their users. The analysis of the components and structure of the sign, the deployment of notions of the in-situ (site contextuality), performance and fiction, the use of concepts pertaining to the fields of psychoanalysis, sociology, linguistics, enable us to participate in the reflection upon the cognitive role of art

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8

Mirka, Danuta. „The sonoristic structuralism of Krzysztof Penderecki /“. Katowice : Music Academy, 1997. http://catalogue.bnf.fr/ark:/12148/cb369654996.

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9

Contreras, Díaz Sylvia Fabyola, und Díaz Sylvia Fabyola Contreras. „Aproximación semiótica al Decálogo de Krzysztof Kieslowski“. Tesis de Licenciatura, Facultad de Ciencias Políticas y Sociales, 2014. http://hdl.handle.net/20.500.11799/13687.

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Comencé a pensar en dedicar mi tesis a Krzysztof Kieslowski desde que supe debía elegir un tema, lo elegí porque me considero admiradora de su filosofía sobre cómo hacer cine haciéndolo un medio de comunicación, la forma en que nos cuenta sus historias, su arte, su manera de ver la vida y transmitirla. En el Capítulo 1 veremos el Cine de Posguerra en Polonia, dado que Kieslowski director y guionista era polaco, y su trabajo lo desarrolló posterior a la segunda Guerra Mundial, la privatización de los países socialistas y el impacto que generó en la comunidad éstos cambios, cosa que para Kiesloswki fue de alta relevancia, por ello es importante conocer dicha etapa para comprender los motivos del Director en “El Decálogo” (1988-89). Pretendo tener un background sobre el cine de los ochentas en Europa, para tener un contexto del director, ya que se encontraba en el centro de las convulsiones poscomunistas. En el Capitulo 2 conoceremos sobre la vida y obra de Krzysztof Kieslowski quien nació en Varsovia en una familia de clase modesta. Tras 2 intentos fallidos de ingresar a la escuela de cine de Lodz y graduarse, comenzó haciendo documentales, cortometrajes, después fue creador de largometrajes como “Personal”(1975), “La doble vida de Verónica”(1991), “Breve Historia sobre el amor”, “Breve Historia sobre la muerte”(éstos 2 últimos extraídos de “El Decálogo” 1988), más tarde fue acomodado a la industria francesa y legó una trilogía testamentaria inspirada en los colores de la bandera francesa (1991-94) Considerándose éstas como sus últimas películas. Posterior a su muerte aparecieron 3 textos filmicos realizados con su eterno guionista y colaborador Piesiewicz tilulados “Cielo, Infierno y Purgatorio”, actualmente ha sido llevada al cine la de “Cielo” por el director Tom Tykwer (2002) y la de “Infierno” de Danis Tanovic (2005).

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10

Loos, Helmut, und Stefan Keym. „Krzysztof Penderecki: Musik im Kontext: Konferenzbericht Leipzig 2003“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70554.

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Am 17. Oktober 2003 verlieh die Fakultät Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig Krzysztof Penderecki 'als einem Repräsentanten polnischer Kultur im Widerstand gegen den Kommunismus in Anerkennung seiner Verdienste um die Weiterentwicklung der Neuen Musik seit den 1950er-Jahren sowie die deutsch-polnischen Kulturbeziehungen und die Verständigung zwischen den beiden Ländern' die Ehrendoktorwürde. Aus diesem Anlass fand vom 17. bis 19. Oktober 2003 am Institut für Musikwissenschaft der Leipziger Universität eine internationalewissenschaftliche Konferenz statt.:Einleitung Krzysztof Penderecki: Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003 Mieczysław Tomaszewski: Krzysztof Penderecki. Wandlungen und Knotenpunkte des schöpferischen Weges Ann Gebuhr: Near the Center of the Labyrinth: Krzysztof Pendereckiin the New Millenium Regina Chłopicka: Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History Teresa Malecka: Elements of Russian Orthodox Culture in the Oeuvre of Krzysztof Penderecki as Exemplified in Utrenya I and II Allmuth Behrendt: Offen für Veränderung. Modifizierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun Stefan Keym: Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert Bettina Dissinger : Das musikalische Zitat bei Krzysztof Penderecki - Verwendung und Wirkung Alicja Jarzębska: Krzysztof Penderecki's 'Ars Contrapuncti' Daniela Philippi: Traditionelle Muster als Material. Zur Konzeption der 3. Symphonie Krzysztof Pendereckis Ewa Siemdaj : Types of Climaxes in Krzysztof Penderecki's Symphonic Works Małgorzata Janicka-Słysz : The Idea of Dramaturgy in Instrumental Concertos of Krzysztof Penderecki Rainer Cadenbach: Gattungsbeiträge oder was? Pendereckis Kammermusik für Streicher Roman Kowal: Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s Peter Andraschke: Penderecki in Donaueschingen Stefan Weiss: Penderecki und Ligeti: Zur Rezeption der Klangkomposition in der BRD Dieter Gutknecht: Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki (nach den Unterlagen des Westdeutschen Rundfunks Köln) Helmut Loos: Krzysztof Penderecki im deutschen 'Spiegel' Ray Robinson: Recapitulation through Synthesis: Penderecki's Reception in the United States Milan Slavický: Auswirkungen der 'polnischen Schule' auf die tschechische Musik der 1960er-Jahre Hartmut Krones: Krzysztof Penderecki und Wien Krzysztof Droba: Penderecki nach Iwaschkin Magdalena Chrenkoff : Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992 - 2003) Martina Homma: 'Sozialistischer Realismus' und '11. September?' Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)

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11

Tomaszewski, Mieczysław. „Krzysztof Penderecki: Wandlungen und Knotenpunkte des schöpferischen Weges“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70676.

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12

Siemdaj, Ewa. „Types of Climaxes in Krzysztof Penderecki's Symphonic Works“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70765.

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13

Drobnik-Rogers, Justyna. „Krzysztof Warlikowski's theatre and the possibility of encounter“. Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/krzysztof-warlikowskis-theatre-and-the-possibility-of-encounter(1b01746f-bcc5-4e70-b4fc-5b5a7081a4a1).html.

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This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski’s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki’s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ‘encounter’ that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ‘here and now’.This thesis asks questions about the distinctive conditions that make possible the type of encounter that lies at the heart of Warlikowski’s oeuvre and distinguishes it from Polish repertory theatre. The theoretical framework of ‘intertheatricality’ facilitates identification of the matrix of elements that inform this encounter. These elements are constituted by: 1.The strategies that have led Warlikowski to become a successful director and enabled him to create a new way of theatre-making and communication with audience; 2. The complex processes of the creation of his ensemble of actors; 3. The family-like setting and the collaborative nature of rehearsals; 4. The status of actors who become the co-authors of performance and their idiosyncratic involvement in the creation of shows that cross the borders between work and life; and finally, 5. The role of the audience that becomes an integral element of the performance making process. Seeing Warlikowski’s work from the perspective of performance as event shows it not as a static and completed artefact, but as a fleeting, transient process that is open to changes and resonates with the outside world. Through its focus on creative processes, this approach sheds new light on the theatre of Warlikowski. It shows how he integrates the actors and audience into his performance making process, and also helps to demonstrate his impact on the status of audience within Polish mainstream theatre post-1989.

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14

Jeong, Hye Min. „Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe /“. Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2007. http://catalogue.bnf.fr/ark:/12148/cb41068005h.

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15

Pluta, Agnieszka. „Trzy warianty neoklasycyzmu w poezji polskiej po roku 1980 (Drzewucki - Ćwikliński - Koehler)“. Doctoral thesis, Katowice : Uniwersytet Śląski, 2007. http://hdl.handle.net/20.500.12128/5230.

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Współczesny neoklasycyzm jest rodzajem postawy heroicznej. Jest rodzajem wewnętrznej zgody na świat rozpadający się, świat apokalipsy spełnionej, równocześnie to uwrażliwienie na to, co w życiu najważniejsze - prawdę, dobro i piękno. Niniejsza praca ukazuje trzy warianty neoklasycyzmu poetów debiutujących po 1980 roku - Janusza Drzewuckiego, Krzysztofa Ćwiklińskiego i Krzysztofa Koehlera. Są to nie tylko poeci, ale i krytycy literaccy biorący udział w dyskusji na temat kształtu współczesnej literatury. Wrażliwi na brzmienie słowa poetyckiego, ale i skorzy do refleksji teoretycznej. Warto przybliżyć ich sylwetki. Każda z przedstawionych poetyk jest inna, inna jest wrażliwość poetów, ale to co ich łączy to, że „nie przynoszą nam gotowej nadziei, nadziei, która się rychło spełni. Współcześni poeci nie są kapłanami; wystarcza im (musi im wystarczyć?) przypomnienie, iż niekiedy, niespodziewanie, znaki rozpaczy zmieniają się w znaki nadziei.” Neoklasycy to najlepsi terapeuci - nie tylko pokazują, jak żyć, co powinno być dla nas ważne, ale i nie oszukują, że będzie lepiej, bo chyba będzie tak, jak jest „tu i teraz”.

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16

Dissinger, Bettina. „Das musikalische Zitat bei Krzysztof Penderecki: Verwendung und Wirkung“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70768.

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17

Janicka-Słysz, Małgorzata. „The Idea of dramaturgy in instrumental concertos of Krzysztof Penderecki“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70764.

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18

Sokołowski, Krzysztof Piotr [Verfasser]. „Die gemischte Schenkung. Eine dogmatische und rechtsvergleichende Analyse / Krzysztof Piotr Sokołowski“. München : Verlag Dr. Hut, 2013. http://d-nb.info/1045987409/34.

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19

Philippi, Daniela. „Traditionelle Muster als Material: Zur Konzeption der 3. Symphonie Krzysztof Pendereckis“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70766.

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20

Cain, Peter L. „A “Farewell” to His Past: Krzysztof Penderecki’s Clarinet Quartet and Sextet“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336683462.

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21

Chŏng, Hye-min. „Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe“. Frankfurt am Main [u.a.] Lang, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015673967&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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22

Penderecki, Krzysztof. „Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70579.

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23

Keym, Stefan. „Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70769.

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24

Behrendt, Allmuth. „Offen für Veränderung: Modifzierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70770.

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25

Chrenkoff, Magdalena. „Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992-2003)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70565.

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26

Gebuhr, Ann. „Near the Center of the Labyrinth: Krzysztof Penderecki in the New Millenium“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70677.

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27

Templin, Krzysztof [Verfasser], und Hans-Peter [Akademischer Betreuer] Seidel. „Depth, shading, and stylization in stereoscopic cinematography / Krzysztof Templin. Betreuer: Hans-Peter Seidel“. Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2016. http://d-nb.info/1093342951/34.

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28

Sorenson, Vanessa Nicole. „Messages to the public : Krzysztof Wodiczko and Jenny Holzer vs. the Reagan revolution“. Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/30494.

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In the week preceding the 1984 United States presidential election, Jenny Holzer and Krzysztof Wodiczko presented ephemeral works of art in public spaces in Manhattan that addressed the election and were highly critical of President Ronald Reagan. Previous considerations of Wodiczko’s AT&T projection, Holzer’s Sign on a Truck and the larger public art movement of that time have emphasized a post-structuralist interpretation, neglecting the applied political aspects in favour of their theoretical underpinnings. With a move towards the practical aspects of the works, this thesis examines the conditions that led to the presentation of these two works and considers what they can teach us about the larger practice of political public art during that period in New York. Chapter 1 considers the political, economic and artistic context of the United States—and New York in particular—in the early to mid 1980s. The Chapter 2 offers an analysis of Wodiczko’s AT&T projection, a night-time projection of the image of President Reagan’s French-cuffed hand onto the side of the AT&T Long Lines building, posed for a recognizable American ritual, the Pledge of Allegiance. Chapter 3 closely considers Sign on a Truck, for which Jenny Holzer deployed a giant screen, mounted on the side of an 18-wheeler truck, to display pre-recorded videos created by collaborating artists interspersed with “man-on-the-street” interviews commenting on the looming presidential election. By shedding the insightful yet constraining post-structural lens that has traditionally coloured the art historical understanding of these works, their essential educative aspects are revealed and a broader understanding is made possible, not only of these two artists and their respective projects, but also of the defense that was mounted by New York's public artists against the “Reagan Revolution.”

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29

高慧芝 und Wai-chi Ko. „A comparative study of Wim Wenders and Krzysztof Kieslowski: the theme of alienation“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31224490.

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30

Triana, Bruna Nunes da Costa. „Ensaio sobre as cores: ética, mimesis e experiência na trilogia de Krzysztof Kielowski“. Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-10022014-105143/.

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Esta dissertação tem como foco central uma reflexão sobre a interface entre cinema e antropologia. A partir disso, o objeto da nossa reflexão é a obra fílmica Trilogia das Cores, do diretor polonês Krzysztof Kielowski (1941-1996), produzida entre 1992 e 1994, na França, Polônia e Suíça. Esses filmes têm como contexto histórico-político de produção e filmagem a comemoração do bicentenário da Revolução Francesa, a assinatura do tratado que instituía a União Europeia e a derrocada do leste comunista. No entanto, esses fatos e questões apenas tangenciam os longas-metragens, que se preocupam mais em seguir seus protagonistas, seus dramas e suas dúvidas. A partir da metodologia da análise fílmica e da descrição detalhada dos longas-metragens, queremos articular a obra com determinadas discussões antropológicas, como a questão da experiência, da mimesis e da narração em relação ao cinema, bem como com questões éticas, políticas e históricas que perpassam os filmes e, portanto, nossa análise. Em um primeiro momento, buscamos refletir mais propriamente as dimensões temáticas da obra Trilogia das Cores, caracterizando o estilo do diretor e a invenção de uma Europa e de uma ética iluminista no mundo contemporâneo. Em um segundo momento, este trabalho concentra-se em investigar as associações possíveis entre o cinema e os conceitos benjaminianos de experiência, mimesis e narração. Nesse sentido, procuramos, em um nível mais abstrato da discussão teórico-metodológica, aprofundar as interpretações acerca dos filmes nas questões sensoriais e nas formas de envolver e trabalhar a linguagem fílmica com o intuito de provocar e transmitir uma experiência ao/no espectador. Assim, esta dissertação volta seu olhar, sobretudo, para os cruzamentos e as relações entre o pensamento cinematográfico e a análise antropológica, a fim de pensar a mediação do cinema, suas formas e potências, a partir das noções de mimesis e narração.
This dissertation has as central focus a reflection about the interface between cinema and anthropology. From this, the object of our reflection is the filmic work Three Colours, by Polish director Krzysztof Kielowski (1941-1996), produced between 1992 and 1994 in France, Poland and Switzerland. The historical and political context of the production and the filming of these films involve the bicentenary of the French Revolution, the signing of the treaty that established the European Union and the collapse of the communist east. However, these facts and issues only touch the films, which are more concerned about following their protagonists, their dramas and doubts. From the methodology of film analysis and a detailed description of the feature films, we intend to articulate the work with certain anthropological discussions, such as the question of experience, mimesis and narrative in relation to the cinema, as well as the ethical, political and historical questions that pervade the trilogy, and therefore our own analysis. At first, we search to reflect on the thematic dimensions of the work of Three Colours, provind a characterization of the style of the director and the invention of a Europe and of an Enlightenment ethic in the contemporary world. Secondly, we investigate the possible association between the films and the Walter Benjamins concepts of experience, mimesis and narration. Thus, on a more abstract level of theoretical and methodological discussion, we seek to deepen the interpretations of the films on the sensory issues and ways to engage and deal with the film language in order to provoke and transmit an experience into the spectator. So, this dissertation focuses especially on the crossroads and the relationship between the cinematographic thought and anthropological analysis, in order to think about the mediation of cinema, its forms and powers, from the notions of mimesis and narration.

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El, Koussa May. „De la dynamique des larmes au cinéma. Douglas Sirk, Krzysztof Kieslowski, Ingmar Bergman“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010662.

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Selon Jean-Louis Leutrat, « les larmes sont un sujet éminemment cinématographique ». Art de l'image en mouvement, le cinéma ouvre la voie à une « dynamique» des larmes. Au cinéma, les larmes coulent dans l’image : elles apparaissent, se forment et se transforment. Connues pour leur faculté de purification, d'échange et d'union, les larmes permettent aux gens de communiquer leur désir d'être accueillis les uns dans les autres. Ainsi, dans le mélodrame, les larmes coulent afin de combattre la difficulté d'être en contact avec « l'autre ». Douglas Sirk, maître du mélodrame hollywoodien fait des larmes un moyen d'expression contre une stratégie qui caractérise son style, la séparation. Entre le besoin des personnages d'établir une union et une stratégie dominante de la séparation dans les films, une dynamique des larmes s'établit au cœur d'une tension entre l'union et la séparation. Dévoilement. communion, conversion, sont les trois étapes de la dynamique qui s'engendre. Avec son refus de montrer des larmes « réelles» pour des raisons éthiques, Krzysztof Kieslowski aggrave la tension entre la séparation dans un monde qui représente la « modernité », et l'écoulement des larmes. Il procure, en plus, à celles-ci une profondeur esthétique et leur donne différentes formes. Dans un cas plus extrême, Ingmar Bergman, à travers son style, interdit à ses personnages de verser des larmes, par peur de décoller le masque qui les protège du néant habitant leur monde. Les larmes touchent à une situation critique, elles appellent à l'union, tout en comportant le danger d'anéantissement
According to Jean-Louis Leutrat, "tears are a highly cinematic subject". As an art of image in movement, cinema may attribute to tears a certain "dynamic". In cinema, the tears flow in the picture: they appear. are formed and transformed. Known for their ability of purification, exchange and union, tears allow people to communicate their desire to be received one in another. Hence, in Melodrama, tears flow to face the difficulty of getting in touch with the "ether". Douglas Sirk, the master of Melodrama in Hollywood, makes of tears a means of expression against a strategy that characterizes his style, the strategy of separation. Between the need to establish a union, and a dominant strategy of separation, a dynamic of tears is born in the core of the strength between union and separation. Unveiling, communion, conversion, are the three stages of the produced dynamic. In his approach of denying "real" tears for ethical reasons. Krzysztof Kieslowski increases the tension between separation in a "modern" world and the flow of tears, while providing them a more aesthetical depth and different forms. More extremely, Ingmar Bergman, through his style, prevents his characters from shedding tears, by fear of taking off the mask that protects them from the nothingness that haunts their world. Tears reach a critical state; they call for the union, while featuring the danger of annihilation

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Kowal, Roman. „Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70574.

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Hubley, Katherine Louise. „Site and Sanctuary in Holocaust Memorial Compositions by Krzysztof Penderecki and Ruth Fazal“. Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242675619.

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Kelly, Michael. „An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.

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Ko, Wai-chi. „A comparative study of Wim Wenders and Krzysztof Kieslowski the theme of alienation /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23234295.

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Szlagor, Dagmara. „Le regard sur soi et sur l'autre dans le cinéma de Krzysztof Kieslowski, artiste complet“. Toulouse 2, 2005. http://www.theses.fr/2005TOU20014.

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L'œuvre de Krzysztof Kieslowski devient un objet regardant et regardé à la fois, dévoilant la réalité du monde et les couches secrètes des dessous. L'artiste évolue, mûrit face à sa créature, change ses angles de vue et tente de connaître les assises de l'univers et de percer le mystère de l'homme. Sa vision est celle d'un observateur acharné du réel, celle d’un peintre travaillant méticuleusement ses motifs, fasciné par les couleurs, les ombres et les lumières, celle d’un musicien captant les sons de l'au-delà et celle d’un philosophe rêvant de comprendre. Son regard est celui d’un artiste complet
The oeuvre of Krzysztof Kieslowski becomes, at the same time, an object which is looking at and being looked to ; disclosing the reality of the world and its hidden side. The artist evolves and matures in front of his creature, changing his angles of view, trying to define the basis of the universe and to penetrate the mystery of human. His vision is the one of a fierce observer of reality, of a painter working meticulously his motifs, fascinated by colors, shadows and lights. It is also a vision of a musician capturing sounds of the beyond and of a philosopher who dreams of understanding. His vision is the one of a complete artist

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Miranda, Suzana Reck. „A musica no cinema e a musica do cinema de Krzystof Kieslowski“. [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285119.

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Orientador: Fernão Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-25T18:17:36Z (GMT). No. of bitstreams: 1 Miranda_SuzanaReck_M.pdf: 3650245 bytes, checksum: f0a4026342db96e0e4783c077ead7f0d (MD5) Previous issue date: 1998
Resumo: A pesquisa apresentada se propõe a descrever caracteristicas específicas da utilização da música de Zbigniew Preisner em dois filmes de Krzysztof Kieslowski: A Dupla Vida de Véronique - 1991 e A Liberdade é Azul - 1993. Acredita-se que, nos exemplos levantados, a relação da música com a ficção contribui de uma forma bastante relevante para a estruturação dos temas apresentados nos filmes. Verificou-se como a expressão filmica de Kieslowski desenvolve o uso da linguagem musical a partir da reflexão sobre algumas particularidades do fluxo da música entre os campos diegético e não - diegético, abordando os modos pelos quais ela atua como instância narrativa, bem como a sua participação como temática dos filmes.A narrativa filmica é extremamente enriquecida com a contribuição das "pistas musicais". Isto ocorre, entre outros fatores, devido à multiplicidadede interpretações que uma mesma melodia permite. Para conduzir tal verificação, foram utilizadas como referência metodológicaas propostas teóricas de alguns autores - como Michel Chion, Claudia. Gorbman, entre outros - sobre música no cinema
Abstract: The research presented has purpose of describing the specific charact.eristics of the use of Zbigniew Preisner music in KrzysztofKieslowsky's movies. It is believed that, in the shown examples, this relation of the music with the fiction contributes in a very relevant form to the structuring of the themes presented in the movies. lt was verified the way Kieslowski's filmic expression develops the use of musical language from the reflection about some particularities of the music flow between the diegetic and the nondiegetic fields, tacking the ways in which the music acts as a narrative instance, as well as its participation as the film subject. lt will be pointed possible contributions of "musical clues" to the enrichmentof the filmic narrative. It was utilised as methodological references the theoretical proposals of authors such as Claudia Gorbman, Michel' Chion, and others, on music in the movies
Mestrado
Mestre em Multimeios

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Gruszczyk, Tomasz. „Ocalające zatracenie : rozważania o doświadczeniu, pamięci i pragnieniu w twórczości Zygmunta Haupta, Stanisława Czycza i Krzysztofa Vargi“. Doctoral thesis, Katowice: Uniwersytet Śląski, 2016. http://hdl.handle.net/20.500.12128/5874.

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The thesis consists of three parts. Each of them is divided into separate chapters devoted to particular authors. The composition of those chapters is determined by the level of representativeness of a particular issue in a particular prose text. And so in the first part, dedicated to the strategy and poetics of the fragment, the author takes into consideration their updating in the works of Krzysztof Varga at the first place, then of Zygmunt Haupt, and finally, of Stanisław Czycz. The past, reverting the memory and the rise of importance of individual experience constitute the entity, around of which the considerance is developped in the second part. It is commenced by issues concerning brooding as a particular stock-in-trade in Haupt's prose. Fragments of Czycz's short stories, which show cherishing of a particular loss in the narrative are marked and discussed. In Varga's prose, the author attempts to save the myth of the past, instead of the past itself. In the third part, the questions about status and stock-in-trade of the authorial subject are raised, as well as about conceptions of subjectivity in works of Hapt, Czycz and Varga. Consideration of the prose of the three different authors, which is introduced in the thesis, is supported by thinking about literature as both performance and presenting. Every earnest reading of a literary work, which is understood in these terms, should subsume not only what is presented, but also the act and the fact of presenting itself. Then the text is understood, or imagined as a scene, being the source of voice. This is a phenomenon of the communication, of the contact itself, which is indicated by everything what happens in the text and by the text itself on every formal and substantive level. In texts of those authors, the voice belongs to someone, who can come into existence only as the voice. The identity of such person, or rather his image consists of life experience of the personal author, fragments of his biography, his consciousness, but also his unconscious, social and cultural norms, linguistic devices and the literary tradition. The question about “who” of this voice is in fact a question about a particular, historical unit, but also about psychosocial, linguistic and literary norms and practices. Just such questions are posed from the scene of writing in this text, and specific answers are given by the “self” of this voice. Both the “who” of this voice and his “what” are to large extent supported by the experiences of the authors themselves. Characters who appear on the scene of writing have traits similar, or even identical with traits that could describe people hidden under names of the authors. Often enough, those characters show, or even declare this similarity themselves. They narrate stories about themselves, about their past evoked by the power of their memory. By talking about it, they also talk about more or less conscious manners of shaping depictions of the past, about culturally determined devices, that are not reproducing it, but producing. They appear in texts as actors and narrators of the story. They will not refrain from speaking about that second activity. It gives them semblance of authenticity, semblance of being, but still this is just semblance. The possibility of presence is undermined by the voice, which unceasingly performs the act of disillusion, being the act of disillusion itself. The way of its existence is paradoxical. It is not personal, or certainly, not only personal. It is a result of pure productivity of the act of writing, to be exact, of writing out, writing up and writing to show off. The voice says: “I am here”, instead of: “I am important here because he is not able, or does not want to spring into existence on the scene of writing as himself; By this speaking and marking I am supplanting him here” (that is cynical voice of Czycz's writing out). Some other time: “I am not the voice of any individual, not even of a community, but a voice of collectiveness. I am not only the voice, which presents, speaks about something. I am the voice of the dialogue itself” (dialogic voice of Haupt's writing up). Finally: “I am the voice of the scene itself, of writing, of presenting” (spectacular voice of Varga's writing to show off). The voice attempts to head to its source, but the only thing it can do is to mark the source's impossible presence. Literary marking and emulating in texts do not lead to any direction (of retrieving what is lost, restoring the presence, establishing identity and expressing it in a complete work), as it is a purpose itself. That is why the author of the thesis states that in the prose of the authors mentioned above, the literary demonstration of the desire itself is effectuated there. This desire enables any communication, which becomes here an act of calling, corresponding with, and, as a result, saving only the remnants of what is not present or unavailable. Works of Haupt, Czycz and Varga are read as a project of the redeeming loss: occurring in the voice which comes from the scene of writing during the process of redeeming the remnants of a particular presence, by destroying and quelling it in its literary articulation.

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Kostrzewa, Krzysztof [Verfasser], und Manfred [Akademischer Betreuer] Aigner. „Advanced computational methods in identification of thermo-acoustic systems / Krzysztof Kostrzewa. Betreuer: Manfred Aigner“. Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2011. http://d-nb.info/1018421009/34.

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Wandzik, Krzysztof [Verfasser]. „Untersuchungen zum Eisenmetabolismus während der megakaryozytären Differenzierung und Proliferation der K562-Zellen / Krzysztof Wandzik“. Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1023233916/34.

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Bringezu, Nicole [Verfasser]. „Rezeption und Konstruktion. Aspekte ‚wissenschaftlicher‘ Legitimation musikästhetischer Kommunikation am Beispiel KRZYSZTOF PENDERECKIS / Nicole Bringezu“. Wuppertal : Universitätsbibliothek Wuppertal, 2020. http://d-nb.info/1223989240/34.

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Dorociak, Rafał Krzysztof [Verfasser]. „Systematik zur frühzeitigen Absicherung der Sicherheit und Zuverlässigkeit fortschrittlicher mechatronischer Systeme / Rafal Krzysztof Dorociak“. Paderborn : Universitätsbibliothek, 2015. http://d-nb.info/1067915494/34.

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Homma, Martina. „Sozialistischer Realismus und '11. September'?: Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70564.

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Wang, Amanda. „An analysis of Krzysztof Penderecki's String Quartet No.3: "Leaves of an Unwritten Diary"“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/12876.

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Thesis (D.M.A.)--Boston University
Penderecki's String Quartet No. 3: Leaves from an Unwritten Diary was commissioned by the Shanghai Quartet in 2008 and premiered at a special 75th birthday concert honoring the composer. The quartet is a single movement work consisting of four to five short sections of contrasting tempos and character. Stylistically, the quartet is quite representative of his chamber works since the 1990's, and stands in sharp contrast to the first two quartets from the avant-garde period. The purpose of this dissertation is to provide an historical background, formal and linear analysis, and discussion ofthe challenges of interpreting this contemporary work, which has very little performance precedence.

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Lipinska, Katarzyna. „Le cinéma en République populaire de Pologne : le cas de l'ensemble filmique TOR (1967-1981) : analyse des discours d'auteur et idéologique“. Thesis, Dijon, 2016. http://www.theses.fr/2016DIJOL029/document.

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L'objet de cette thèse est une étude de cas d'un ensemble de production cinématographique polonaise dans la période communiste des années 1970 - TOR (Kieslowski, Zanussi, Rozewicz). Cette recherche met en avant l'autonomie créatrice de l'auteur-cinéaste face aux bouleversements de la politique culturelle qui a déterminé la production cinématographique dans un pays non-démocratique, à savoir la Pologne populaire des années 1970. La filmographie de TOR est homogène et ses films communiquent un discours d’auteur sur les thématiques existentielles et morales où l’individu occupe une place centrale. Comment a-t-il été possible de produire des films mettant l’individu au centre dans un pays où régnait un discours officiel exaltant le collectif ?
The main subject of this thesis is a case study of Polish cinematographic production under the communist period in the 1970's called TOR (Kieslowski, Zanussi, Rozewicz). This research points out the author-filmmaker's creative autonomy confronted to the Cultural Policy upheavals which have determined film production in a non - democratic country : Polish People's Republic in the 1970s. The TOR filmography is homogeneous and its movies transmit the author-filmmaker's point of view about the existential and moral matters while the individual occupies the central place. How was it possible to produce films focused on the individual in a country where the political class and its collective policy occupied the central place?

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Daley, Paul B. (Paul Byron). „An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.

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This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.

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Gutknecht, Dieter. „Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki: (nach den Unterlagen des Westdeutschen Rundfunks Köln)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70571.

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Chłopicka, Regina. „Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70678.

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Sturman, Esra. „Krzysztof Penderecki’s Divertimento/suite for Cello Solo (1994-2013): a Stylistic Analysis and Performance Guide“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500083/.

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Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated structure, demonstrates Penderecki’s three compositional style periods. Baroque and Romantic elements in each movement are achieved within their style characteristics. Penderecki’s Divertimento/Suite for Violoncello Solo is composed of eight contrasting movements that were written during a nineteen-year period. The work is characterized by a Neo-Romantic aesthetic and utilizes the cello’s dark lyrical tones with a variety of timbre and tonal contrasts. The purpose of the present study is to create a practical performance guide to this important musical work with a detailed stylistic, textural, and motivic analysis of all eight movements. Although there are many published documents and analyses of Penderecki’s orchestral, choral, chamber and other solo pieces, the Divertimento/Suite for Cello Solo has yet to be thoroughly researched and discussed in the extant cello literature. It is the lack of research concerning this work that prompts this important study. This analysis will serve to outline the unifying compositional procedures of the work and explain the special instrumental techniques employed. With its illustrations of the motivic, harmonic and the textural relationships of each movement, this study serves as a twentieth-century performance guide for the cello world.

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Baran, Justyna. „Żywioł i duch : o wyobraźni pneumatologicznej Krzysztofa Kamila Baczyńskiego“. Doctoral thesis, Katowice : Uniwersytet Śląski, 2014. http://hdl.handle.net/20.500.12128/5560.

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The thesis concerns the dimensions of the poetry of Krzysztof Kamil Baczyński which reveal particularly strongly in his late poems and provoke research at the frontier of literature and theology. Pneumatological imagination is a term that describes a particular quality of the poetic imagination of „the second Słowacki” which reflect on the different levels of the organization of the text. Pneumatology is the study of the theology of the Holy Spirit (from Gr. pneuma – breath), in literary studies – these are literary expressed beliefs and views on the spiritual structure of man and the world and also – the way of expressing them. Baczyński’s spirituality is being shaped almost in front of the reader and against the background of dramatic historical circumstances. The aim of the study was to capture the richness of pneumatological phenomena in their poetic representation. Basing in taking account of the Baczyński’s biography on this dimension which had a direct influence on the shaping of his poetic imagination , the author explores particularly pneumatologically significant poems and linguistic representations of the Spirit. An important dimension of the study was to trace the intertextual relations within the poetry of Baczyński, where literary references are the result of pneumatological quests and clearly contribute to the development of the individual, unorthodox religiosity of Jan Bugaj.

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