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I will speak about movie protagonists who, in the strictest sense, store their memories in photos. Their memory functions only by this technology – ant thus, the agents of this access will be not only the protagonists, but also us, viewers, who will construct a more or less coherent identity for the protagonists on the base of these pictures. My protagonists do not only use photos to remember by: they also have notes, drawings and novels to dispose of. What is common in all these forms, is the externalization of memory. The photos constitute a core of self-identity that can be accessed in need, and identified with, over and over. What I investigate is the implications of using photography in such techniques, and the roles of mediatized pictures in these fictional worlds.
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In Széchenyi’s definition, self-reflection is the intellectual effort by which the self, in a process of self-interpretation and self-correction, creates its particular identity. The practice of self-interpretation, thus, is the base of the interpretation of being, because this is how one can form a picture about himself and the world. This way, he recreates himself and the world, narratively. The series of symbols that follow through his walk of life, present us the formation of Széchenyi’s ideas. The differences in their meanings show the differences in the formation of his worldview. In my paper I follow the formation of a motive of a story of remorse, on the base of the journals and their sequence, the confessions from Döbling.
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In this paper I introduce a play, which proves that the technique of psychodrama is capable to create self-healing narratives. Its protagonist creates a family narrative by which he can recall self-empowering memories. He has to go back to his dead ancestors, in order to find out what he can learn from which family member, how one should reestablish outside and inner control, how he can find spiritual consistency, and how life becomes dynamic again. He hopes that through remembering his childhood friend and his childhood self, he will regain his self-confidence. The solution seems attainable through the imagination of a narrative of recalled memories. This is where he can gain power from and meet positive family messages, and then resist negative social heritage. For a change, the old identity has to come to pieces it he collective unconscious and be reborn as a new structure. This is where the narratives speaking it he language of symbols can be of help.
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The formation of the narrative ability, and the narrative ability of ourselves, has a long way to go. What I investigate is the position of 10-12 year olds in this process. I also ask, how analyses of autobiographies and the structure of narratives can be applied to self-narratives by elementary pupils.The material of my research is data gathered by a study financed by the Ministry of Education, and led by Rita Pletl, that referred to the whole Hungarian school system in Romania. The study meant to measure the knowledge of mother tongue, and has controls in Hungary. Within it, the composing capacities in the he fourth grade of elementary school was measured by „write a tale” free compositions. In my degree paper I analyzed the whole material, 1236 tales with content analysis. My conclusion is, that telling stories about ourselves helps the formation of self-consciousness, of an autobiographical past. Understanding the world, the reality means understanding myself.
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This study shows the possibility of transformation of the complexes and traumas into energy source from the dynamic psychotherapies point of view. Relaxational psychotherapeutic examples show that this gentle method is suitable for one to more conscious this complexes. Through body-sense and word association the patient travels an inner way that makes him possible the procession of his experiences and the reevaluation of his life-story. With the help of this inner work the person’s energy reserves will get to a standby position.Keywords: complexes, relaxation, the individual’s energy reserve, body-senses - word association – self-experience.
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Psycho-oncology as a specific intervention field for helpers (e.g. clinical social workers, psychologists, nurses, priests) and as a research area is to be considered a new, developing reality in Romania. This paper aims to summarize the basic dilemmas, questions from the beginning period and points out some useful professional and personal experiences acquired during the last 4 years of psycho-oncology work, but also raises new perspectives in psycho-oncology research and intervention based on study, evaluation and integration of personal and family narratives.
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The leader of bibliotherapy directs the choice of the piece of art work, its interpretation, and its inclusion, in order to achieve a certain effect. The three protagonists of the literary therapy process are the receiver, the literary work and the therapist. The literary works can fulfill more functions. One is the mirror-function, where the receiver recognizes his problems in the art work. Another function is the model function, where he gets a model to follow, or negative model function. The main aim is that the literary work, in one or another way, should dynamize the participants, so that they recognize some message of the art work and find a relation between the story described in it and their own life stories.
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When understanding a text, we always become one with the tradition in which it was born. But understanding also means posing questions that will dynamize the text. Ádám Bodor’s novel describes a world which might be easy to be recognized by us, who live in post-dictatorial countries. What is the element that makes a difference between this novel and others that concern the same theme? In this paper I ask what conception of a community is formed in those living in the environment described in the he novel, and how it can be compared to primitive cultures. How is the identity of these people built up, how is it connected to their names, or nicknames, how does, if it does, a change of identity occur, and how does the protagonist speak about all these.
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The topic of this paper is the role of the narratives in the teaching of foreign languages. From this point of view the concept of narrative refers mainly to texts and the work with different types of texts during language classes. After the presentation of the theoretical background of the topic, several types of texts are presented with emphasis on the practical aspects of their use in the teaching process. The main focus of the paper is the presentation of a set of exercise types, with reference to the key features of each type, to the language games which are used to reinforce certain grammar points or to practice certain structures, using texts, fragments of longer or shorter narratives.
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The paper investigates the relationship between chiasm as a fundamental diacritical concept used from philosophy to psychology and representation in film and its perception. Chiasm is a nontotalizing idea of the encounter between the ’Self’ and the Other. It derives from ancient and classical rhetoric where it was assigned a metonymic structure vis-a-vis the more common form of metaphor. The basic argument is that film or the moving image has several representational planes where metonymy is operant, first and foremost montage and intermediality. The paper discusses only the first of the two where reflexivity plays a minimal role, and it also traces consequences of chiasmatic montage at the perceptual level of film images. The paper proposes four basic categories or types of film perception: a) categorical perception, b) aspect seeing, c) specificity recognition and d) modulation. It concludes with a detailed analysis of Seom (2000) by the Korean director, Kim Ki-Duk.
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Photogénie and physiognomy are among the most wide-known concepts of the early film aesthetics, and reveal two different ways of thinking about the nature of film. Although these concepts do not imply coherent, theoretical systems, they develop two specific viewpoints about the importance of movement and representation in film. In this way, photogénie and physiognomy meet in the problem of the close-up, both of them dealing intensely with the aesthetics of face in film, naming it as an unusual, delicate area, which carries some truly “film-like” characteristics. The close-up initiates the specific idea of seeing “in close-up” and provides that technical condition, through which the face can appear as an artistic opportunity for the film. While photogénie deals with the differences between reality and its filmic image, physiognomy emphasizes the ability of the filmic image to produce sensitive surfaces, or even to “facialize” its subject. This study discusses these concepts by evoking the writings of Béla Balázs and the artists of French impressionism, Jean Epstein, Germaine Dulac and Louis Delluc. To test the validity of these concepts, the author analyses two very different films: Cecil B. DeMille’s The Cheat (1915), which was one the French impressionists’ most adored American films, and John Cassavetes’ Faces (1968), which contains a lot of close-ups evoking different aspects of photogénie.The paper also refers shortly to the after-life of these concepts, which are often evoked by the philosophical film theory of Gilles Deleuze.
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The flatness of moving images break the illusion of reality of the spectator and it is usually considered to be a self-reflexive device. However a special phenomenon, a frequent use of flat surfaces within the filmic image can be observed in cases of some Eastern Asian films. The author argues that this phenomenon is not merely a stylistic device but a reflection of a special way of thinking. The study tries to determine the cardinal reason of the phenomenon of constructions of flat quality in moving images and present the specificities of its appearances in this perspective. Parallels are drawn with the Bizantian icon representations and the aspects of the introvert personality in Jung’s definition. Specific scenes from the films of Kim Ki Duk, Wong Kar Wai, Hsiao-Hsien Hou, Tran Anh Hung, Koreeda Hirokazu are analysed.
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The essay is about the question of documentary versus fiction but in a special context called the “exploited” reality. The illustrational example is György Pálfi's Hukkle (2002), and the argumentation is based on the rigorous distinction of the montage-theory of Bazin. In Bazin's classical opinion there are two types of directors and therefore two types of films: which believe in the reality, and which believe in the picture.In Hukkle the exploited reality has three layers: the first is the reality-context of the film (the real events from the 1920's), the second is the fabula of the film (the fictious murders in Pálfi's story), and the third is the camouflage of the reality (formal and stylistic genre conventions of the documentary films). With these layers Pálfi makes a full circle around reality and imaginary, he switches our attention permanently between the documentary and the fiction. To do this, he chose an experimental narrative form, the so called "magic-picture" narrative. The originally image-natured picture-puzzle turns into moving images: with this gesture we arrive in the special field of the border-land of documentary and fiction.
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The essay tries to contribute to a better understanding of the role of paintigs or pictorialism in Alfred Hitchcock’s films. Classical narrative films (musicals, film noirs, the films of Orson Welles or Sternberg) often used pictorial techniques or incorporated paintigs or portraits within the the filmic narrative. It is argued that Hitchcock’s films on the one hand present typical instances of filmic pictorialism or use of portraits (mainly in his gothic romances or women’s melodrama type films), however his art can also be considered as a deconstruction of these techniques, as a transition from the avantgarde “cinema of attractions” of early cinema to an abstract and modernist type film language. The films referred to are: Rebecca (1940), Suspicion (1941), Spellbound (1945), Stagefright (1950), Strangers on a Train (1951), Vertigo (1958). In these films the portrait or the painterly image becomes a sort of abyss or a portal through which we are transposed on a metanarrative level about the nature of images in general or the nature of cinema itself. Painting appears as cinema’s double, but not in a conventional sense (as used by most hollywood narratives: that is a mere image that needs a narrative explanation and therefore presents itself as a riddle or enigma soon to be solved during the plot), but as a threat, as something that is capable of opening up the image both to an infinitiy of meanings and both capable of emptying it of all meanings and throwing its spellbound viewer into the horror of the Unnamable.
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It is very difficult to name periods or trends in the Hungarian film production at the turn of the 1980s and 1990s. The ’black series’ is perhaps the most appropriate designation for the films directed by Béla Tarr, Ildikó Enyedi, Attila Janisch, György Fehér and János Szász, emblematic figures of this time, provided that we consider it more than a technical option and view it as a stream with formal and thematic overlappings. The present paper argues that the black and white technique used in the forementioned films is not a fashionable and arbitrary option but stylisation and a means of abstraction from the concrete social-political environment, which can be interpreted in most cases as a return to the elementary. Therefore it becomes an important dramatic element, closely connected to the time and space structures of the films. The narration of the above films has a discontinuous structure, its spacial and temporal parameters are characterized by the prevalence of discontinuous and divergent formal elements. Therefore the last part of the paper examines the possibilities of local space conception in the modality of the space outside the picture frame, which can be grasped in the juxtaposition of cuts. I use the term global space for the more or less homogeneous frame that shows a coherence and continuity of perception, while I consider the tangential and discontinuous relation between different types of spaces a local space.
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The present paper examines some aspects of the reflexivity of the Iranian films: Mohsen Makhmalbaf's Salaam Cinema is a film about film-making, having as its theme the directing of the film, another film of the same director, entitled Gabbeh, deals with story-telling by reinterpreting the role of the frame and expanding on the metaphor of texture, whereas Jafar Panahi's The Mirror explores the possibilities of documentary by revealing the film-making apparatus and thus turning the genre of documentary into a counter-documentary. The analyzed films deal with the ambiguous relationship between documentary and fiction, between reality and representation and are characterized by an obsessive medial awareness.
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The essay concentrates on the phenomenological difference between the visual texture of the film and the video image, as well as the working of this difference into a critique of contemporary audiovisual culture, its reconstitution of the forms of intersubjectivity. It seems that in the works of Atom Egoyan the uses of image follow identical strategies as the mechanisms of intersubjectivity. Both exercise the movement of substitution: the image as a fetishized prosthetic device comes to organize family life, whereas the act of remembrance will be understood as the necessity to record and imagify. These strategies are analyzed in two early films – Family Viewing (1987) and Speaking Parts (1989). Relying on the textural difference of video/film-image, the paper identifies Egoyan's preoccupation with the ways the hand, forms of tactile communication, the ”culture” of tactility are portrayed, and – in the act of cinematic representation – subordinated to the eye and audiovisual culture. In The Adjuster (1991) there is a clear hierarchy between these two regimes/orders of intersubjectivity, the visual sphere with its vicious circles of recording/deleting devours practices of tactility. In the Calendar (1993) Egoyan clearly confronts the video image with the photographic image, intensifying their difference. The visually beautiful, yet artificial photos create a totally different reading of the narrative events than the archival video segments. Questions of memory and individual/collective identity in Ararat (2002) are likewise addressed through the distinction between visual textures and media (film, video footage, painting).
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