Instaduos: paintings and poems

general courses

The aim of this ocurse is to talk about different kind of configurations of poems and images and the effects they have on our imagination, emotions and cognition of the world. Each meeting will serve us an opportunity to talk about the broader context of the work of a selected poet and painter/photographer.

Poets: W.B. Yeats, W.B. Auden, B. Pasternak, O. Mandelstam, J. Schuyler, Z. Ginczanka, A. Ginsberg, A. Pushkin, Cz. Milosz, Ph. Larkin, P. Eluard et al.

Painters: P. Gaugin, V. van Gogh, J. Mitchell, Rembrandt, P. Breugel, H. Matisse, P. Klee, G. Baldini, R. Man, R. Horowitz and others.

Classroom

The aim of this ocurse is to talk about different kind of configurations of poems and images and the effects they have on our imagination, emotions and cognition of the world. Each meeting will serve us an opportunity to talk about the broader context of the work of a selected poet and painter/photographer.

The course covers the following subjects: intersemiotics, ekphrasis, synesthesia, photopoems, photocompositions, a surrealist book and others.

Terminology: self-portrait, nude, nature-morte, sonnet, ballad, lyrical poem, rhyme, rhythm, metaphor, metonymy, blank verse, free verse and others.

The well-known application by Meta popularized the combination of an image and a short commentary in our communication. It is usually the image that attracts our attention first, but the text that can change ouor perception in an instant A photo of a toadstool bauble will cease to be only an image of a Christmas artifact when we sign it with the wishes: "Health!". The combination of image and word will suddenly become a source of irony.

Similar mechanisms provoke avalanches of memes. Thanks to the word, the image receives a new interpretation, while the word releases its power in the visualized context.

We regularly experience the combined influence of image and poetic word in our childhood, when exposed to llustrated children's books of poems. Instaduet: poem and image accompany us from an early stage of life. During the classes, we will approach similar synesthetic impressions simply more consciously.

The aim of this ocurse is to talk about different kind of configurations of poems and images and the effects they have on our imagination, emotions and cognition of the world. Each meeting will serve us an opportunity to talk about the broader context of the work of a selected poet and painter/photographer.

The course covers the following topics:

- riddles of intersemiotics: is painting really silent poetry, and poetry painting that speaks? Is Simonides right or he is just bewitching us (as Lessing claims)?

- ekphrasis: - nature-morte by Zuzanna Ginczanka and Paul Gaugin,

- how Paul Cézanne gave rise to the poetry of the American beat,

- the wild beginning of the 20th century: Fauvism by Henri Matisse

Adamism by Osip Mandelstam

- the history of a certain myth: from antiquity to W.B. Yeates

and Giuseppe Baldini

- solitude, melancholy and irony: three aspects of creativity

in the works of Edward Hopper and Philip Larkin,

- passions of the beginning of the centuries: Russian romantic

poetry and a modernist artist Mikhail Vrubel,

- poetic interpretations of Van Gogh and Peter Breugel,

- New York School and Poetry Instead of LSD: How Joan Mitchell

"took" poems for abstract graphics,

- photo compositions by Ryszard Horowitz and music by Borys

parsnip,

- photo poems and surreal book projects: the story of Paul Eluard: a poet who was lucky in love, Ray Man - an artist solarizing women and muse Nusch, without whom there would be no joint work.

An additional reading list will be provided for each topic.

Attendance at classes (max. 2 absences), participation in discussions during classes.