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Proces transferu zachodzi zawsze w obie strony i jest kreatywny. W przypadku transferu kulturowego każda rzecz (koncepcje, systemy prawnych, idei, przedmioty materialne, terminy, konwencje literackie, teatralne itp.) nie tylko zostaje przeniesiona do nowego kontekstu, ale przede wszystkim nabiera nowego znaczenia. Kulturowa wymiana to nie cyrkulacja wiedzy i idei takimi jakie są w środowisku oryginalnym, ale ich ponowna reinterpretacja w odmiennym kontekście kulturowym. Artykuł ma na celu analizę transferu kulturowego na przykładzie tradaptacji Jatindera Vermy w teatrze interkulturowym. Naświetlone zostały procesy relokacji kulturowej klasyków, negocjacje językowe, heteroglosji i inicjacji ruchu nowych teatrów mniejszościowych. Autorka pokazuje także proces ewolucji definiowania i rozumienia takich zagadnień jak performatywność, wypowiadalność czy odgrywalność w na...","author":[{"@context":"https://schema.org","@type":"Person","name":"Agnieszka Adamowicz-Pośpiech","url":"https://silesian.academia.edu/AgnieszkaAdamowiczPo%C5%9Bpiech"}],"contributor":[],"dateCreated":"2021-07-06","dateModified":"2023-11-20","headline":"Transfer kulturowy w przekładzie dramatów na scenę","image":"https://attachments.academia-assets.com/67898888/thumbnails/1.jpg","inLanguage":"pl","keywords":[],"publication":"Er(r)go. 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window.loswp.work = {"work":{"id":49577248,"created_at":"2021-07-06T13:53:07.536-07:00","from_world_paper_id":170549199,"updated_at":"2022-04-19T12:50:38.791-07:00","_data":{"abstract":"Literaturoznawcy, Michel Espagne i Michael Werner wprowadzili pojęcie „transferu kuturowego” do nauk humanistycznych. Proces transferu zachodzi zawsze w obie strony i jest kreatywny. W przypadku transferu kulturowego każda rzecz (koncepcje, systemy prawnych, idei, przedmioty materialne, terminy, konwencje literackie, teatralne itp.) nie tylko zostaje przeniesiona do nowego kontekstu, ale przede wszystkim nabiera nowego znaczenia. Kulturowa wymiana to nie cyrkulacja wiedzy i idei takimi jakie są w środowisku oryginalnym, ale ich ponowna reinterpretacja w odmiennym kontekście kulturowym. Artykuł ma na celu analizę transferu kulturowego na przykładzie tradaptacji Jatindera Vermy w teatrze interkulturowym. Naświetlone zostały procesy relokacji kulturowej klasyków, negocjacje językowe, heteroglosji i inicjacji ruchu nowych teatrów mniejszościowych. Autorka pokazuje także proces ewolucji definiowania i rozumienia takich zagadnień jak performatywność, wypowiadalność czy odgrywalność w na...","publisher":"University of Silesia in Katowice","publication_name":"Er(r)go. Teoria - Literatura - Kultura"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"pl","title":"Transfer kulturowy w przekładzie dramatów na scenę","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [58099353]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":67898888,"attachmentType":"pdf"}"><img alt="First page of “Transfer kulturowy w przekładzie dramatów na scenę”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/67898888/mini_magick20210706-11645-fbx5bb.png?1625604856" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Transfer kulturowy w przekładzie dramatów na scenę</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="58099353" href="https://silesian.academia.edu/AgnieszkaAdamowiczPo%C5%9Bpiech"><img alt="Profile image of Agnieszka Adamowicz-Pośpiech" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/58099353/36319864/31151241/s65_agnieszka.adamowicz-po_piech.jpg" />Agnieszka Adamowicz-Pośpiech</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">Er(r)go. Teoria - Literatura - Kultura</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">18 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 49577248; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=49577248"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Literaturoznawcy, Michel Espagne i Michael Werner wprowadzili pojęcie „transferu kuturowego” do nauk humanistycznych. Proces transferu zachodzi zawsze w obie strony i jest kreatywny. W przypadku transferu kulturowego każda rzecz (koncepcje, systemy prawnych, idei, przedmioty materialne, terminy, konwencje literackie, teatralne itp.) nie tylko zostaje przeniesiona do nowego kontekstu, ale przede wszystkim nabiera nowego znaczenia. Kulturowa wymiana to nie cyrkulacja wiedzy i idei takimi jakie są w środowisku oryginalnym, ale ich ponowna reinterpretacja w odmiennym kontekście kulturowym. Artykuł ma na celu analizę transferu kulturowego na przykładzie tradaptacji Jatindera Vermy w teatrze interkulturowym. Naświetlone zostały procesy relokacji kulturowej klasyków, negocjacje językowe, heteroglosji i inicjacji ruchu nowych teatrów mniejszościowych. Autorka pokazuje także proces ewolucji definiowania i rozumienia takich zagadnień jak performatywność, wypowiadalność czy odgrywalność w na...</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":67898888,"attachmentType":"pdf","workUrl":"https://www.academia.edu/49577248/Transfer_kulturowy_w_przek%C5%82adzie_dramat%C3%B3w_na_scen%C4%99"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":67898888,"attachmentType":"pdf","workUrl":"https://www.academia.edu/49577248/Transfer_kulturowy_w_przek%C5%82adzie_dramat%C3%B3w_na_scen%C4%99"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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Łucja...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Konwencje teatralne w przestrzeni ekranowej : przypadek teatru telewizji","attachmentId":114230246,"attachmentType":"pdf","work_url":"https://www.academia.edu/118655953/Konwencje_teatralne_w_przestrzeni_ekranowej_przypadek_teatru_telewizji","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/118655953/Konwencje_teatralne_w_przestrzeni_ekranowej_przypadek_teatru_telewizji"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="48973606" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/48973606/Robinsonada_na_scenie_albo_dzieje_nieudanej_adaptacji">Robinsonada na scenie albo dzieje nieudanej adaptacji</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="130080773" href="https://independent.academia.edu/JoannaMaleszy%C5%84ska">Joanna Maleszyńska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Porównania</p><p class="ds-related-work--abstract ds2-5-body-sm">Artykuł Robinson na scenie czyli dzieje nieudanej adaptacji dotyczy opery komicznej Robinson Crusoe Jacquesa Offenbacha, której libretto powstało w oparciu o fabułę wielkiej powieści Daniela Defoe. Adaptacja, dokonana przez francuskich librecistów w drugiej połowie XIX wieku, daleko odbiegła od epickiego pierwowzoru i z powieści będącej epickim hymnem na cześć ludzkiej zaradności i siły przetrwania uczyniła błahą komedię z banalną akcją i bez głębszego przesłania. Porównanie dwóch różnych gatunkowo tekstów o tym samym bohaterze przynosi wniosek o organicznej nieprzekładalności monumentalnej powieści, szczególnie na komedię, przeznaczoną na scenę muzyczną.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Robinsonada na scenie albo dzieje nieudanej adaptacji","attachmentId":67364877,"attachmentType":"pdf","work_url":"https://www.academia.edu/48973606/Robinsonada_na_scenie_albo_dzieje_nieudanej_adaptacji","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/48973606/Robinsonada_na_scenie_albo_dzieje_nieudanej_adaptacji"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="119509083" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/119509083/Teatralizacja_%C5%9Bwiata_jako_wyznacznik_odmiany_gatunkowej_powie%C5%9Bci_Zwariowane_miasto_Wteatrwst%C4%85pienie_Bia%C5%82a_noc_mi%C5%82o%C5%9Bci_">Teatralizacja świata jako wyznacznik odmiany gatunkowej powieści (Zwariowane miasto, Wteatrwstąpienie, Biała noc miłości)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="132811987" href="https://independent.academia.edu/SobieckaAnna">Anna Sobiecka</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Annales Universitatis Paedagogicae Cracoviensis, 1970</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Teatralizacja świata jako wyznacznik odmiany gatunkowej powieści (Zwariowane miasto, Wteatrwstąpienie, Biała noc miłości)","attachmentId":114898658,"attachmentType":"pdf","work_url":"https://www.academia.edu/119509083/Teatralizacja_%C5%9Bwiata_jako_wyznacznik_odmiany_gatunkowej_powie%C5%9Bci_Zwariowane_miasto_Wteatrwst%C4%85pienie_Bia%C5%82a_noc_mi%C5%82o%C5%9Bci_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/119509083/Teatralizacja_%C5%9Bwiata_jako_wyznacznik_odmiany_gatunkowej_powie%C5%9Bci_Zwariowane_miasto_Wteatrwst%C4%85pienie_Bia%C5%82a_noc_mi%C5%82o%C5%9Bci_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="127125414" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/127125414/Film_w_praktykach_spo%C5%82ecznych_dyskusja_redakcyjna_">Film w praktykach społecznych (dyskusja redakcyjna)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="325110520" href="https://independent.academia.edu/AgnieszkaOgonowska3">Agnieszka Ogonowska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura, 2017</p><p class="ds-related-work--abstract ds2-5-body-sm">Film w praktykach społecznych (dyskusja redakcyjna) W dyskusji udział wzięli: prof. SWPS dr hab. Mirosław Filiciak (Uniwersytet SWPS w Warszawie) ks. prof. dr hab. Witold Kawecki (UKSW w Warszawie) dr hab. Małgorzata Lisowska-Magdziarz (Uniwersytet Jagielloński) prof. zw. dr hab. Agnieszka Ogonowska (Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie) prof. UP dr hab. Marek Pieniążek (Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie) prof. zw. dr hab. Antoni Porczak (Akademia Sztuk Pięknych w Krakowie) prof. UJ. dr hab. Małgorzata Radkiewicz (Uniwersytet Jagielloński) dr hab. Sławomir Sikora (Uniwersytet Warszawski) prof. UP dr hab. Rafał Solewski (Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie) dr hab. Paweł Tański (Uniwersytet Mikołaja Kopernika w Toruniu) prof. zw. dr hab. Sławomir Jacek Żurek (KUL w Lublinie) Agnieszka Ogonowska: Szanowni Państwo, Szanowne Koleżanki, Szanowni Koledzy, bardzo dziękuję, że przyjęliście zaproszenie do udziału w dyskusji redakcyjnej "Studia de Cultura". Źródłem inspiracji do podjęcia tego tematu (Film w praktykach społecznych) dostarczyła Ogólnopolska Konferencja Naukowa pt. "Film w działaniu", która odbyła się w dniach 24-25.11.16 roku z inicjatywy Katedry Mediów i Badań Kulturowych IFP oraz Ośrodka Badań nad Mediami UP w Krakowie. W jej ramach poruszone zostały interesujące kwestie związane z wykorzystaniem filmu we współczesnych działaniach edukacyjnych, terapeutycznych, kulturowych, marketingowych czy w projektach artystycznych. Nasza dzisiejsza dyskusja z założenia będzie służyć rozszerzeniu niektórych wątków, rzecz jasna, z możliwością ich podjęcia na kolejnych naszych spotkaniach i w projektach naukowych. Zatem otwieram naszą dyskusję. Film w praktykach społecznych (dyskusja redakcyjna) [173] A.O.: Współcześnie film "wychodzi" poza obiegi kinowe, poza tradycyjne instytucje kultury zdominowane przez jednokierunkowy model komunikacji. W ramach kultury Web 2.0 czy nawet Web 3.0 użytkownicy sami tworzą filmy, które wyrażają ich indywidualne umiejscowienie socjokulturowe oraz doświadczenie egzystencjalne. Dochodzi jeszcze kwestia konwergencji mediów, poszczególne obiegi się przenikają, indywidualne produkcje odnoszą się wzajemnie do siebie na prawach rozmaitych relacji intertekstualnych i intermedialnych. Czy film jest współcześnie? Jak możemy go zdefiniować? Antoni Porczak: Jeśli przez film rozumiemy techniczne wytwarzanie obrazów, które w projekcji lub emisji ekranowej dają iluzję ruchu, jego rola dla epoki medialnej (zapośredniczonej komunikacji) jest równie doniosła jak dla kina w ubiegłym wieku, choć w zupełnie innym sensie. Film w dyspozytywie kina, jako linearna narracja, w kontekście kultury digitalnej i operacyjnej percepcji staje się anachroniczny. Technika filmu, o jakiej wspomniałem na samym początku, w projektach intermedialnych, zwłaszcza interaktywnych ma znaczenie już nie, jako przekaz jednokierunkowy (autor-odbiorca), ale jako materia użytkowniczego przekształcania audio obrazów wideo. Mirosław Filiciak: Wydaje mi się, że w sytuacji, w której coraz większą rolę w dostępie do filmów odgrywają media społecznościowe -jako miejsce wymiany rekomendacji, dyskusji, ale też po prostu performowania swojego gustu -jeszcze bardziej istotne niż kiedyś jest badanie filmu jako praktyki społecznej. Oczywiście takie podejście nie umniejsza roli filmu jako tekstu, ale sądzę, że odkąd film stał się wyjątkowo "poręczny", bo krąży między rozmaitymi urządzeniami i sytuacjami odbioru, jest też czymś, co łatwo samemu zrealizować, wszystko to, co dzieje się poza ekranem, jest przynajmniej równie ważne, jak to, co na ekranie. Wątek myślenia o filmie w kontekście relacji społecznych, dziś często zmaterializowanych interakcjami w social media, wpisuje się zresztą w bliską mi tradycję cultural studies, zgodnie z którą widzowie nie tylko odczytują teksty, ale i reprodukują relacje społeczne. Tyle że teraz badania takie odbywają się w duchu rozszerzonego, nowego materializmu, bo infrastruktura komunikowania oraz pozostawiane ślady to po prostu algorytmy i dane, co rzecz jasna nie umniejsza roli tych wszystkich aspektów, które są ważne w myśleniu marksistowskim -przede wszystkim wątków ekonomicznych. Mam wrażenie, że te perspektywy od lat zyskują na znaczeniu, albo może to znaczenie po prostu odzyskują, choć w polskim kontekście badania obiegów filmowych i badania widowni w ogóle przez lata stanowiły raczej margines refleksji nad filmem. Tym bardziej cieszą takie inicjatywy jak publikacja antologii Badanie widowni filmowej Magdaleny Saryusz-Wolskiej i Konrada Klejsy. Mam nadzieję, że to zarazem przejaw wzrostu zainteresowania tym nurtem, jak i kolejny impuls, który przyczyni się do jego wzmocnienia. A.O.: Użytkownicy mediów nie tylko, np. trawestują i parodiują tematy i schematy narracyjne znane z dużych i małych ekranów (kinowych, telewizyjnych, produkcji sieciowych), ale też swoimi działaniami przyczyniają się do redefinicji tradycyjnych pojęć filmoznawczych, estetycznych, artystycznych i kategorii prawnych, związanych z prawem autorskim.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Film w praktykach społecznych (dyskusja redakcyjna)","attachmentId":120904973,"attachmentType":"pdf","work_url":"https://www.academia.edu/127125414/Film_w_praktykach_spo%C5%82ecznych_dyskusja_redakcyjna_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/127125414/Film_w_praktykach_spo%C5%82ecznych_dyskusja_redakcyjna_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="127125357" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/127125357/Adaptacja_filmowa_jako_przyk%C5%82ad_zjawiska_intermedialno%C5%9Bci">Adaptacja filmowa jako przykład zjawiska intermedialności</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="325110520" href="https://independent.academia.edu/AgnieszkaOgonowska3">Agnieszka Ogonowska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Annales Universitatis Paedagogicae Cracoviensis Studia De Cultura, 2013</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Adaptacja filmowa jako przykład zjawiska intermedialności","attachmentId":120904991,"attachmentType":"pdf","work_url":"https://www.academia.edu/127125357/Adaptacja_filmowa_jako_przyk%C5%82ad_zjawiska_intermedialno%C5%9Bci","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/127125357/Adaptacja_filmowa_jako_przyk%C5%82ad_zjawiska_intermedialno%C5%9Bci"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="52155463" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/52155463/Transfer_emocji_w_translacji_audiowizualnej_na_przyk%C5%82adzie_polskich_t%C5%82umacze%C5%84_napisowych_wybranych_film%C3%B3w_angloj%C4%99zycznych_i_francuskoj%C4%99zycznych">Transfer emocji w translacji audiowizualnej na przykładzie polskich tłumaczeń napisowych wybranych filmów anglojęzycznych i francuskojęzycznych</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49763115" href="https://independent.academia.edu/AgnieszkaStaweckaKotu%C5%82a">Agnieszka Stawecka-Kotuła</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Annales Universitatis Mariae Curie-Skłodowska, sectio J – Paedagogia-Psychologia, 2019</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Transfer emocji w translacji audiowizualnej na przykładzie polskich tłumaczeń napisowych wybranych filmów anglojęzycznych i francuskojęzycznych","attachmentId":69550965,"attachmentType":"pdf","work_url":"https://www.academia.edu/52155463/Transfer_emocji_w_translacji_audiowizualnej_na_przyk%C5%82adzie_polskich_t%C5%82umacze%C5%84_napisowych_wybranych_film%C3%B3w_angloj%C4%99zycznych_i_francuskoj%C4%99zycznych","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/52155463/Transfer_emocji_w_translacji_audiowizualnej_na_przyk%C5%82adzie_polskich_t%C5%82umacze%C5%84_napisowych_wybranych_film%C3%B3w_angloj%C4%99zycznych_i_francuskoj%C4%99zycznych"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="118015794" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/118015794/Improwizowana_i_prowokowana_komedia_dokumentalna_czyli_Czeski_sen_na_jawie_i_Czeski_pok%C3%B3j_na_bojowo">Improwizowana (i prowokowana) "komedia dokumentalna", czyli "Czeski sen" na jawie i "Czeski pokój" na bojowo</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="297953276" href="https://independent.academia.edu/DariuszTkaczewski">Dariusz Tkaczewski</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2013</p><p class="ds-related-work--abstract ds2-5-body-sm">For years, Czech (and Czechoslovak) cinema has been associated with excellent traditions and a trusty brand. Apart from outstanding feature films, which have always been welcomed by cinema- -goers, Czech documentaries are increasingly gaining popularity. In this field a new generation of documentary filmmakers is rising to fame. In recent years, nobody has been more provoking and irritating, as well as prompting the average Czech to reflect upon his or her behaviour, than Vít Klusák and Filip Remunda. These two talented Czech documentary filmmakers, alumni of the renowned FAMU – Film and TV School of the Academy of Performing Arts in Prague, are controversial scandalmongers and at the same time original cult artists. They have created their own style of reality show and a specific kind of documentary – the so called ‘documentary comedy’. Not only do they watch and record human behaviour, but – just to get to the heart of the matter – they also spontaneously document Czech reality, p...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Improwizowana (i prowokowana) \"komedia dokumentalna\", czyli \"Czeski sen\" na jawie i \"Czeski pokój\" na bojowo","attachmentId":113739460,"attachmentType":"pdf","work_url":"https://www.academia.edu/118015794/Improwizowana_i_prowokowana_komedia_dokumentalna_czyli_Czeski_sen_na_jawie_i_Czeski_pok%C3%B3j_na_bojowo","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/118015794/Improwizowana_i_prowokowana_komedia_dokumentalna_czyli_Czeski_sen_na_jawie_i_Czeski_pok%C3%B3j_na_bojowo"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="118655945" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/118655945/Adaptacja_jako_tw%C3%B3rcza_praktyka_w_polskim_teatrze_wsp%C3%B3%C5%82czesnym_Krystian_Lupa_Krzysztof_Warlikowski_teatr_krytyczny">Adaptacja jako twórcza praktyka w polskim teatrze współczesnym. Krystian LupaKrzysztof Warlikowskiteatr krytyczny</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="299268700" href="https://independent.academia.edu/AlinaSordyl">Alina Sordyl</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Postscriptum Polonistyczne, 2011</p><p class="ds-related-work--abstract ds2-5-body-sm">Tworzenie światów-tak jak je znamy-zawsze wychodzi od światów, które są już pod ręką; tworzenie to jest zawsze przetwarzaniem (Goodman 1997, 15). Kultura adaptacji Podstawą teatru w zachodniej kulturze jest adaptacja nie tylko tekstu dramatycznego, tekstu słownego, ale rozmaitych artefaktów i porządków kulturowych oraz elementów i praktyk życiowych (ciała człowieka, kulturowych i wymykających się kulturze zachowań). 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