Relevant bibliographies by topics / Polanski

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Polanski'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2024

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Journal articles on the topic "Polanski"

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Tomczyk-Jarzyna, Izabela. "Polański i symulacje. Na marginesie tekstu Ewy Mazierskiej "Roman Polański (i inni) przed sądem"." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 607–14. http://dx.doi.org/10.21697/zk.2023.10.27.

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Polanski and Simulations: A Few Remarks on Ewa Mazierska’s essay “Roman Polanski (and Others) on Trial” The text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning.
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Tosh, Jemma. "Celebrity ‘rape-rape’: An analysis of feminist and media definitions of sexual violence." Psychology of Women Section Review 18, no. 1 (2016): 27–42. http://dx.doi.org/10.53841/bpspow.2016.18.1.27.

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In 2009 a US-based television programme,The View, discussed the arrest of film director Roman Polanski. Polanski was wanted for six outstanding charges related to the rape of Samantha Gailey in 1977. During this episode of theThe View, Whoopi Goldberg made a controversial statement that Polanksi was not guilty of ‘rape-rape’. This statement along with the long history of Polanski’s avoidance of incarceration, illustrates the ongoing challenges for feminists to confront the trivialisation of sexual coercion and violence. Goldberg’s comments initiated an enthusiastic response on online forums and reinvigorated debates around definitions of rape. In this paper, I analyse online discussions on a feminist blog using discourse analysis (Parker, 2014) and the importance of considering the interrelated concepts of consent/non-consent, pleasure/distress and power in understanding the complexity and diversity of experiences of sexual violence.
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Czanik, Mark. "Mr Polanski." Wasafiri 25, no. 1 (March 2010): 59–61. http://dx.doi.org/10.1080/02690050903425524.

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Callan, Jamie. "Meeting Polanski." Baffler 6 (November 1994): 83–89. http://dx.doi.org/10.1162/bflr.1994.6.83.

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Piętka, Aleksandra. "Kat, ofiara i świadek w "Śmierci i dziewczynie" Romana Polańskiego." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 249–80. http://dx.doi.org/10.21697/zk.2023.10.13.

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The Perpetrator, the Victim, and the Bystander in Roman Polanski’s Death and the Maiden (1994) This paper analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with René Magritte’s paintings to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colors, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film.
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Pawłowska-Jądrzyk, Brygida. "Polański, Hitchcock i MacGuffin." Załącznik Kulturoznawczy, no. 9 (2022): 565–75. http://dx.doi.org/10.21697/zk.2022.9.28.

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The main subject of the article is the relationship between the creative method of Roman Polanski and Alfred Hitchcock and the attitude of the Polish director to genre cinema. The author of the text, critically analyzing the earlier diagnoses of Polish monographers of Polanski’s work (Grażyna Stachówna, Mariola Dopartowa), prove that these problems are difficult to reduce to the MacGuffin issue today, because they “loop” at many levels and in various interpretative concepts, consistently eluding easy generalizations.
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Cejtlin, Michel. "Le pianistede roman Polanski." Les Temps Modernes 657, no. 1 (2010): 260. http://dx.doi.org/10.3917/ltm.657.0260.

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Chilstein, David, and Rémy Libchaber. "Retours sur l’affaire Polanski." Commentaire Numéro128, no. 4 (2009): 999. http://dx.doi.org/10.3917/comm.128.0999.

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Etkind, Charlene. "Roman Polanski Interviews (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 101. http://dx.doi.org/10.1353/flm.2007.0012.

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Pieterse, Annel. "Polanski and perception: the psychology of seeing and the cinema of Roman Polanski." South African Theatre Journal 27, no. 2 (April 3, 2014): 151–55. http://dx.doi.org/10.1080/10137548.2014.901646.

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Dissertations / Theses on the topic "Polanski"

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Caputo, Davide. "Polanski and perception." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3183.

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Filmmaker Roman Polanski declares in his autobiography that he was greatly influenced by renowned neuropsychologist Richard L. Gregory (1923-2010), whose work, Polanski claims, gave scientific confirmation to many of his own beliefs regarding the nature of perception. Gregory was a strong advocate for what is referred to as the ‘indirect’ theory of perception, a theoretical model that stresses the agency of cognition, specifically hypothesisation, in the act of perceiving. This analysis of Polanski’s cinema is guided by an exploration of perceptual psychology, with special attention paid to how the theory of indirect perception differs from competing, and often more intuitive, models of perception. The two main focuses of this thesis are: a) to identify the ways in which Polanski’s cinematography is actively informed by neuropsychological research on perception, and b) to discuss the various ways in which the key philosophical implications of the theory of indirect perception find expression in his cinema. My analysis will focus primarily on two (unofficial) ‘trilogies’, what I refer to as the ‘Apartment Trilogy’ of Repulsion (1965), Rosemary’s Baby (1968), and The Tenant (1976), and the ‘Investigation Trilogy’ of Chinatown (1974), Frantic (1988) and The Ninth Gate (1999). Also included are minor case studies of Knife in the Water (1962), Death and the Maiden (1994), and The Ghost (2010). This thesis hopes to demonstrate the manner in which Polanski’s cinematic engagement with perceptual psychology evolves over his career, from more psychologically intimate explorations of the perceptual mechanism via portrayals of schizophrenia in his earlier films, to more distant studies of highly proficient perceiving bodies who are nevertheless confronted with serious challenges to their perceptual (and epistemological) frameworks.
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Capozzi, Benedetta <1993&gt. "Macbeth on screen: Welles, Kurosawa, Polanski,Kurzel." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10743.

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This thesis analyses how four directors, Orson Welles, Akira Kurosawa, Roman Polanski and Justin Kurzel, have produced a screen adaptation of Shakespeare’s Macbeth. It starts with a general overview of the play, focusing on the characters and on Shakespeare’s sources and it attempts to reconstruct the general atmosphere in England in the 17th century. After a quick overview on the first stage adaptations in Chapter One, the thesis turns to analyse in detail the four movies. In Chapter Two it discusses Orson Welles’s adaptation of 1948 and his dreamlike representation of the story.The third chapter focuses on Japanese director Akira Kurosawa’s Throne of Blood, also known as The Castle of The Spider’s Web, produced in Japan in 1957.The fourth and fifth chapters are dedicated respectively to Roman Polanski’s 1971 adaptation and to the latest screen version made by Justin Kurzel in 2015. A conclusion, in the end, shows how all the considerations made on all the different screen versions contribute to re-invent and reproduce the greatness of Shakespeare’s characters and that the appeal his stories have on audience demands for artists to develop always new forms of engagement with Shakespeare’s work.
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Girling, Christine. "Auteurs of Macbeth : Akira Kurosawa, Orson Welles and Roman Polanski." Thesis, University of Birmingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633098.

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Akira Kurosawa, Orson Welles and Roman Polanski: three very different filmmakers in whose hands Macbeth becomes three very different films. For Kurosawa, who admits himself to being obsessed with exploring the "extraordinary things that lie in human hearts," the play becomes a humanist drama concerned with man's inner evil and ambition; in the hands of Welles - whose chief agenda was always extravagance and spectacle rather than character development -Macbeth becomes a more symbolic fight between good and evil; whereas Polanski, whose major concern is often with the "confrontation of evil," presents Macbeth as a gritty, psychological thriller. All three directors have remarkable filmographies - often being nominated for and winning prestigious awards as well as experiencing professional low-points which not only counterbalance this, but at times have even seemed out of sync with the rest of their careers. They have also had remarkable personal lives, variously tinged with tragedy, which often seems to be reflected in their films. Kurosawa, born in 1910, experienced first hand the Great Kanto Earthquake, which devastated Japan in 1923, killing more than 100,000, and lived through the Second World War, which cost more than 2 million Japanese lives. He also suffered great personal loss during his lifetime - one of his brothers and one of his sisters died during childhood; and both of his older brothers died when Kurosawa was in his twenties, the younger of whom committed suicide at the age of twenty-seven. Later in life, the director's personal difficulties became so great that at one point he even attempted suicide himself. Welles was born five years after Kurosawa, although his living in America meant that he was less affected by the Second World War. In other ways however, his upbringing was unconventional and not without tragedy. When he was four his parents divorced due to 'irreconcilable differences' - the reality of which was that his father was an alcoholic and his mother had had a live-in-lover for some time. He was considered a child 'prodigy' but as a result of this special treatment was somewhat set apart from other children, had very few friends of his own age, and spent a lifetime trying to live up to these early expectations of greatness. When he was nine his mother died, and six years later so did his father - who literally drank himself to death - leaving his upbringing to his mother's lover, who would act as a secondary father figure to him for the rest of his life. Like Kurosawa, Polanski grew up in politically catastrophic times, although his life may be said to have been the most affected by tragedy and controversy. Jewish, he was born in 1933 and was living in Warsaw during the German invasion of Poland, so was no stranger to the harsh realities of war. His mother was executed in a concentration camp when he was six; years later he was to relive this loss when his pregnant wife was brutally murdered by members of a crazed cult; and when he was still recovering from this tragedy, he was arrested and charged with the rape of a 13 year-old girl. This thesis aims to explore the ways in which these different personal factors affecting Kurosawa, Welles and Polanski have contributed over the years to their films and in particular, to their interpretations of Macbeth. As the play's primary concerns are the mechanisms of evil and human iniquity - subject matter they were all, in varying degrees, personally familiar with the occurrence of these themes throughout the three directors' films will be examined alongside the representation of them in their adaptations of Macbeth.
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Tylski, Alexandre. "Les génériques d'ouverture au cinéma : les longs-métrages de Roman Polanski." Toulouse 2, 2007. http://www.theses.fr/2007TOU20099.

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En quoi les génériques d'ouverture au cinéma peuvent-ils (re)présenter l'identité audiovisuelle et thématique d'un film et d'un cinéaste ? Ainsi, l'ultime question pourrait être : ne pouvons-nous pas étudier l'oeuvre d'un cinéaste (Roman Polanski) par le biais de ses génériques d'ouverture ? Pour y répondre, la première partie de cette thèse propose une synthèse historique des génériques d'ouverture au cinéma (condensé de périodes et autres évolutions des génériques à travers l'histoire du cinéma), puis une synthèse théorique (condensé d'écrits et de définitions autour des enjeux sonores, visuels, scripturaires et structurels des génériques). Ensuite, après la description du corpus (les génériques d'ouverture des dix-sept longs-métrages de R. Polanski), la seconde partie soumet une synthèse autour des figures audiovisuelles (son, image et montage) du générique d'ouverture en lien avec le style de chacun des dix-sept films, puis un examen des thèmes révélés par l'étude de ces génériques
Can opening title sequences (re)present the audiovisual and thematic identity of a film and of a film maker ? Can we study the work of a movie maker (Roman Polanski) through the opening credits of his film ? To answer these questions, the first part of this thesis is divided into two main chapters : one chapter synthesizes the evolutions of film credits through the history pictures, the other chapter condenses diverse writings and definitions on the roles of credits in terms of sound, image, word and strucure. In the second part, a desciption of the main corpus (the opening title sequences of R. Polanski's seventeen feature-length films) leads to a synthesis of the audiovisual devices used in these main titles to serve the style of each film (through sound, images and editing), as well as an analysis on the themes revealed by the study of these film credits
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RIBEIRO, Douglas Deó. "Os sujeitos e o mundo: Notas sobre a encenação no cinema de Roman Polanski." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18082.

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Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-12-15T14:37:08Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5)
Made available in DSpace on 2016-12-15T14:37:08Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) Previous issue date: 2016-06-30
Este trabalho realiza um estudo estilístico da obra do cineasta franco-polonês Roman Polanski a partir de recorrências encontradas na encenação – e entendendo-se a encenação como a relação estabelecida entre corpos e espaços nas imagens de um filme. Partindo-se de uma análise que identifica a penetração do real na cena ficcional polanskiana, o estudo atravessa as questões presentes no posicionamento dos corpos no espaço até alcançar a encenação do próprio corpo enquanto matéria expressiva.
This paper makes a stylistic study of the oeuvre of the French-Polish filmmaker Roman Polanski from recurrences founded in staging – and understanding the staging as the relation between bodies and spaces in the images of a film. Starting with an analysis that identifies the penetration of reality in the Polanski’s scene, the study permeates the questions presents in the placement of the bodies in the space to reach the staging of the own body as an expressive subject.
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Spooner, Kristin. ""This is not Dickens" fidelity, nostalgia, and adaption /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4608.

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Thesis (M.A.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 27, 2007) Includes bibliographical references.
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Uutela, Robin. "”Alla dessa häxor” – En jämförande analys av Ira Levins Rosemarys Baby och Roman Polanskis filmatisering." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-73014.

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Uppsatsen analyserar och jämför hur den psykologiska skräcken och hur de suggestiva effekterna framställs i Ira Levins roman Rosemarys baby och Roman Polanskis filmatisering. Syftet med analysen är att söka svar på just denna fråga. Uppsatsen metoder utgår från närläsning, som är en noggrann och djupgående läsning utav verket, samt adaptionsteori, som är en metod som skapar förståelse för vilka likheter och skillnader som skapas när en roman överförs till film. Analysen visar att filmatiseringens berättande har många likheter med romanen då få scener plockats bort. Analysen visar också att mycket av den psykologiska skräck som existerar i romanen även framställs i filmatiseringen genom ljud, musik och visuella bilder. Trots likheterna mellan roman och film finns det även skillnader, då analysen visar att Polanskis version innehåller större symbolik som kan kopplas till katolicismen och kan således också ses som en tydligare kritik mot den tidens normer och samhällsfrågor.
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Wearne, Olivia, and oliviawearne@hotmail com. "Crater Lake: A Study of the Monster Within." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081209.160136.

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Lagerkranser, Johanna. "Repulsion : Subjektivitet och frågor kring det sociala." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7031.

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The scope of this investigation is the conditions under which readings of Repulsion (1965), and its depicted mental illness, took place in Sweden during the censorship debates in 1965, and also how the reception was related to narration and subjectivity in the film. The reason for this is the strong reactions to the images of the main character’s inner state, and concerns about negative effects in the public, that were raised. One major concern is how the film articulates discourses through which meanings are produced; that is, how it works as social technology. My thesis is therefore structured around two levels; textual analysis and discourse analysis. In this way, I try to locate meaning and power relations both within and outside the film. My work draws mostly on Edward Branigan’s cognitive theory of narration and Michel Foucault’s thoughts on power and knowledge. I have partly deployed the approach presented by Annette Kuhn, to study the relations of power that are put into play in specific instances. To draw any conclusions I have studied Swedish newspaper articles from 1965 and a summary of the discussion within the Board of Censors. The major findings of the investigation show how the struggles to locate and regulate the meaning of Repulsion ended in the questioning of the very practice of censorship, which even seemed to suggest a moment of transition for the Swedish Board of Censors. Another important finding shows that concerns about Swedish mental care were raised; however, only regarding hospitalisation and treatment of patients and not about underlying, deeper social problems

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Rafiei, Masoomeh. "L'étude thématique du théâtre et du cinéma de Yasmina Reza." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA087.

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Yasmina Reza, l’une des dramaturges les plus honorées de la scène internationale, n’hésite pas à faire entrer son art dramatique sur la scène de l’art cinématographique : entre la forme romanesque et la forme dramatique, l’écriture rézienne expérimente également le domaine de l’image. Nous avons souhaité, d’abord, consacrer cette thèse à une étude analytique sur le théâtre rézien et ensuite sur son adaptation au cinéma. À travers ses pièces, Yasmina Reza met en scène des personnages ayant souvent les mêmes obsessions et soucis d’une pièce à l’autre, qui recourent fréquemment au même langage. Entre tragédie et comédie, la dramaturgie de Reza mélange le monologue et le dialogue pour raconter à la fois tout et presque rien. Le temps, l’espace, le décor, souvent simple et neutre, les objets quotidiens, servent à mettre en scène la vie quotidienne dans le théâtre rézien. De ce point de vue les ouvrages de Reza se rapprochent de ceux du cinéaste iranien Kiarostami. Au-delà de la présence des éléments autobiographiques et de la musique dans l’écriture dramatique rézienne, le théâtre de Reza se distingue par un langage spécifique, entre le silence, le non-dit et le récit, entre la conversation et le dialogue. Yasmina Reza déclare s’amuser avec les mises en abyme dans son théâtre, elle expérimente ainsi son premier film en tant que réalisatrice avec Chicas, une adaptation d’Une pièce espagnole qui multiplie les mises en abyme. Yasmina Resa poursuit avec l’écriture d’un scénario, Le pique-nique de Lulu Kreutz, réalisé par Didier Martiny, puis avec l’écriture du scénario de Carnage, d’après sa pièce Le dieu du carnage, en collaboration avec Roman Polanski. Dans cette thèse, nous avons tenté d’étudier l’adaptation des pièces réziennes au cinéma, leurs mises en scène et leurs personnages qui manifestent leurs violence et angoisses face à l’écran
Yasmina Reza, one of the most honored dramaturge artist internationally, does not hesitate to introduce her dramatic art on the cinematographic scene: in between the Romanesque forme and the dramatic one, the Yasmina Reza also experiments in the pictorial art. In the first instance, we have sought to focus this thesis on an analytic study of the Rezian theater to follow with her work of adaptation to the cinema. In her theatre plays, Yasmina Reza’s characters have often the same obsessions and often use the same language. Between tragedy and comedy, Reza’s dramaturgy weaves with monologue and dialogue to relate about everything and at times almost nothing. Time, space, the setting, often simple and neutral, daily objects, are used to compose the contemporary life in Reza’s plays. From this standpoint, Reza’s theatre plays are echoing with Iranian Kiarostami’s cinema.Beyond the presence of autobiographic elements and references to music in Reza’s plays, her writing is singles out specifically, alternating between silences, the not-said and the narrative, between the conversation and the dialogue. Yasmina Reza affirms enjoying using of mise en abyme in her theatre plays, thus she experiments her first movie as script writer and director of Chicas, an adaptation of Une pièce espagnole which uses many mises en abyme. Yazmina Reza continues writing with the script Le pique-nique de Lulu Kreutz directed by Didier Martiny, then with the writing of the script of Le dieu du carnage, in collaboration with Roman Polanski. In this thesis, we have attempted to study the adaptation of Reza’s plays to the cinema, their dramatization along with their characters who display their violence and anxiety in front of the screen
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Books on the topic "Polanski"

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Pierre-André, Boutang, ed. Polanski par Polanski. [Paris]: Chêne, 1986.

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Polanski. New York: Palgrave Macmillan, 2008.

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Polanski. London: Century, 2007.

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Avron, Dominique. Roman Polanski. Paris: Rivages, 1987.

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Goodchild, Terence J. Colli Polanski. USA: Amazon Createspace, 2015.

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Cappabianca, Alessandro. Roman Polanski. Recco, Genova: Le mani, 1997.

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Roman Polanski. Rome: Gremese, 2006.

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1953-, Jacobsen Wolfgang, ed. Roman Polanski. München: Hanser, 1986.

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Edoardo, Bruno, ed. Roman Polanski. Roma: Gremese, 1993.

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Stefano, Francia di Celle, Polanski Roman, and Torino Film Festival (26th : 2007), eds. Roman Polanski. [Turin, Italy]: Torino Film Festival, 2008.

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Book chapters on the topic "Polanski"

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Jackson, Jeffrey E. "Oliver’s Auteurs: The Cases of Lean and Polanski." In Adaptation, Awards Culture, and the Value of Prestige, 97–113. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52854-0_6.

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Reynolds, Bryan. "Untimely Ripped: Mediating Witchcraft in Polanski and Shakespeare." In Performing Transversally: Reimagining Shakespeare and the Critical Future, 111–35. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-10764-0_5.

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Grimm, Bruno. "Rosemary's Baby und Blue Velvet." In Ästhetische Eigenlogiken des europäischen Genrebildes, 339–56. Bielefeld, Germany: Bielefeld University Press / transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839468982-013.

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Eine Vielzahl von niederländischen Genregemälden bietet neben der ersten, offensichtlichen Deutungsebene eine zweite, tiefergehendere an. Es stellt sich die Frage, wie diese Analysekonzepte ambiger Interpretationsmöglichkeiten auch auf andere Medien übertragen werden können, in denen eine häusliche Darstellung mit einer zweiten Deutungsebene aufgeladen wird. Folgend werden für das Medium Film exemplarisch Rosemary's Baby von Roman Polanski und Blue Velvet von David Lynch auf ambige Erzählstrategien sowie Visualisierungen mit Rückgriff auf diese Konzepte untersucht.
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Rachman, Arnold Wm. "Celebrity privilege and sexual abuse: the case of Roman Polanski." In Psychoanalysis and Society's Neglect of the Sexual Abuse of Children, Youth and Adults, 237–43. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429298431-26.

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Wächter, Lars. "Polanyi, Karl." In Ökonomen auf einen Blick, 415–20. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29069-6_55.

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Muukkonen, Martti. "Polanyi, Karl." In International Encyclopedia of Civil Society, 1–2. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99675-2_270-1.

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Wigner, E. P., and R. A. Hodgkin. "Michael Polanyi." In Historical and Biographical Reflections and Syntheses, 156–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/978-3-662-07791-7_21.

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Wächter, Lars. "Polanyi, Karl." In Ökonomen auf einen Blick, 315–19. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14307-7_49.

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Bendix, John. "Polanyi, Karl." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15781-1.

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Hamenstädt, Ulrich. "Polanyi Twisted." In Theorien der Politischen Ökonomie im Film, 57–73. Wiesbaden: Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-658-03949-3_4.

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Conference papers on the topic "Polanski"

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Tylski, Alexandre. "Étude des génériques dans l’œuvre cinématographique de Roman Polanski." In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.664.

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Gdulova, Marketa. "FFLORIST AND VEGETATION SURVERY AT POLANKA?S PONDS." In 15th International Multidisciplinary Scientific GeoConference SGEM2015. Stef92 Technology, 2011. http://dx.doi.org/10.5593/sgem2015/b51/s20.047.

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Graebin, Rosani Elisabete, Janine Bertelli, Juliana Matte, and Ana Cristina Fachinelli. "Conhecimento Tácito: revisitando o conceito de Michael Polanyi." In Mostra de Iniciação Científica, Pós-graduação, Pesquisa e Extensão. Educs, 2016. http://dx.doi.org/10.18226/610001/mostraxvi.2016.68.

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Snyman, Bailey. "L.I.F.E.: Articulating an Embedded Choreographic Process." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35882.

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This paper explores the evolving landscape of choreographic research in South Africa, focusing on the interdisciplinary nature of contemporary choreography and its reliance on embodied knowledge. The paper examines the theory of tacit knowledge proposed by Michael Polanyi and its intersections with embodiment theories. It further investigates the four interpretations of tacit knowledge presented by Harald Grimen. The study documents the intuitive and implicit choreographic processes behind the creation of “L.I.F.E.: A History of Distance,” a dance-based physical theatre performance. The presentation highlights the importance of understanding choreography as an embodied arts practice and emphasizes the interplay between explicit and tacit knowledge in the choreographer’s creative process.
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Dutra, Catherine Chiappin, Cristiano Wagner Tesser Pavinato, and Roberto Clamer. "Conhecimento Tácito Desenvolvido por Polanyi (1958; 1966) Referenciado nos Estudos Nacionais Publicados nas Bases SciELO e SPELL." In Mostra de Iniciação Científica, Pós-graduação, Pesquisa e Extensão. Educs, 2017. http://dx.doi.org/10.18226/610001/mostraxvii.2017.50.

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Lonergan, Hamish. "Explicitly Tacit: Polanyi’s “Tacit Knowledge” in the Architectural Theory of Charney and Rowe." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4003p7gqw.

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The scientist and philosopher Michael Polanyi coined the term “tacit knowledge” in 1958 to describe a type of unconscious, embodied and social knowledge that could not be explicitly taught through rules or rote-learning. He argued, instead, that some knowledge relied on practice, critique, socialisation and personal biography. In this sense, something like tacit knowledge has long played an important role in architectural education — where skill is acquired through (re)drawing, writing and model-making, reviewed by teachers and peers — even before Polanyi named it. Yet, for all the affinities between design education and tacit knowledge, Polanyi’s epistemology has rarely been directly addressed in architectural theory. This paper considers two exceptions in the writing and pedagogy of Melvin Charney and Colin Rowe in the 1970s. Both figures used Polanyi’s philosophy to propose alternatives to the “ultra” positions of Modernism. Charney argued that Quebecois vernacular architecture reflected a tacit, collective building culture that was inseparable from the embodied construction practices of craftspeople. This could not be made explicit in construction manuals or histories; students had to discover it through drawing and building themselves. Meanwhile, Rowe credited Polanyi’s Beyond Nihilism (1960) in the gestation of Collage City (1978, with Fred Koetter). Polanyi’s essay argued that individual freedom was important in making new discoveries, but that individuals still had a responsibility to go beyond themselves by conforming to collective norms and standards. This, too, found a parallel in Rowe and Koetter’s rejection of Modernist utopianism. At the same time, a close reading of these minor encounters reveals certain continuities and misalignments between Rowe and Charney’s interpretation and Polanyi’s own position as a prominent anti-Communist and contributor to early neoliberalism. Ultimately, this paper aims to clarify the role of tacit knowledge in the theory of these two architect/educators and, in doing so, simultaneously clarify the relationship between tacit knowledge and architectural pedagogy more broadly.
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Lu Chao and Hu Xiaoguang. "Conversion of Relative Humidity in SF6 Gas-Insulated Equipment at Different Temperatures Based on the Polanyi Adsorption Potential Theory." In 2006 IEEE Instrumentation and Measurement Technology. IEEE, 2006. http://dx.doi.org/10.1109/imtc.2006.328658.

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Lu Chao. "Conversion of Relative Humidity in SF<inf>6</inf>Gas-Insulated Equipment at Different Temperatures Based on the Polanyi Adsorption Potential Theory." In 2006 IEEE Instrumentation and Measurement Technology. IEEE, 2006. http://dx.doi.org/10.1109/imtc.2006.235507.

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Aksenov, Viktor, Igor Nosakov, Yulia Chemodanova, and Nikolay Shimin. "Dynamics of organizational culture and behavior of commercial enterprises personnel in modern Russia." In Human resource management within the framework of realisation of national development goals and strategic objectives. Dela Press Publishing House, 2022. http://dx.doi.org/10.56199/dpcsebm.mfor5668.

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The article presents the materials of the study of organizational behavior, which the authors conducted from the mid-90s of the XX century to 2019. The authors of the article believe that the professional behavior of the personnel of commercial enterprises is largely determined by the organizational culture that has developed there and, above all, the value orientations of employees. The article presents the author’s view of Russian and foreign literature. The history of the development of views on organizational culture is touched upon. In addition to fairly well-known authors, Edgar Schein, Gerd Hofstede, the authors cite ideas of less well-known in Russia, Trompenaars F., Hampden-Turner C. Singer M.R, Hall E.T., M. Polanyi, revealing the internal contradictions of the paradigm that has developed in foreign historiography. Contradictions in the Russian historiography of organizational culture are revealed based on the analysis of supporters of classical foreign views, Blagov Yu.E., Katkalo V.S., Savchenko L.S., those who rely on traditional Russian concepts, Yadov, V.A., Avdoshina, N. V., Vaskina, Y. V. Gostev A. A. Huseynov A.A., Kagan M.S., and those who try to combine all the diversity of approaches and concepts in their research, Marshev V.I., Shklyaeva N.A., Salikhova E.R., Zakharova L.N. Based on this, the authors propose their own version of the model of organizational culture and methods for studying its dynamics, substantiate the advantages of using their model and methodology in the analysis of organizational processes in commercial enterprises. Based on the processing of some research results, certain assessments are proposed that relate to changes in value orientations in organizations of various types. The authors draw conclusions about the causes and nature of the changes that have occurred. Measures to improve public policy are proposed.
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Simion, Doina irina. "TEACHING VISUAL AIDS PRESENTATIONS TO ADVANCED E_ENGINEERING STUDENTS DEVELOPMENT VIA SELF-TEACHER MONITORING." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-149.

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Teaching a foreign language to engineering students often poses an inherent challenge: bridging the gap between a mindset defined by technical skills to a mindset that becomes conversant with soft skills. A learner centred approach to language teaching provides the opportunity of training many of the key soft skills required on the work market: leadership (decision making), teamwork (peer interaction), communication skill (adapting style to audience), problem solving skills (info gap activities), work ethic (pro/con), flexibility/adaptability, interpersonal skills (language functions). As far as the student is concerned, the skill of delivering a power point based oral presentation that features the mandatory task of including any sort of visual aid (graph, flow chart, table etc.) presentation is an extremely useful object for acquiring communication skills due to its transferrable value. As far as the teacher is concerned, the repetitive edge of a teacher's activity offers the possibility of juggling with a range of approaches to teaching the graph presentation skill and make place for improvement. Nevertheless, repetition in a teacher's current work is a double edged challenge. On the one side, it is an accepted part of the mechanism of routine development, a state which pertains to the very process of attaining professional excellence. On the other hand, after attaining a certain plateau level in the outcome of repeated behavior, materials or methodology, the challenge comes from the need of a breakthrough: faster, deeper, more relevant. Although there is no universal recipe for achieving a breakthrough, one of the conditions that may lead to it is the ability of re-structuring, concept usefully developed by Michael Polanyi. This capacity building workshop is meant to explore some of the stages one might face in this attempt of restructuring. The case in point is the experience of teaching the skills needed in visual/electronic aid supported oral presentations to e-profile (electric/electronic/power) engineering students from the Bucharest Polytechnic School.
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Reports on the topic "Polanski"

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Rodrigues, João. Endogenous Preferences and Embeddedness: Implications for Economic Theory. A Reappraisal of Karl Polanyi. DINÂMIA'CET-IUL, 2002. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2002.27.

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