Abstract

The article is an attempt to collect and comment on discourse on the relationship between photography and metaphor, which is dispersed in different theoretical works on photography. The author finds these connections crucial in the educational perspective, because they help to inscribe pedagogical activities on photography in a broader humanistic education that aims at cultivating the ability to think. The main theoretical contexts are writings by Bernd Stiegler and Hannah Arendt. The author gives an exemplary analytical study of photographs by Krzysztof Szlapa and Kamil Myszkowski as well as a suggestion of a practical photographic task whose objective is to inspire metaphorical thinking.

Highlights

  • The article is an attempt to collect and comment on discourse on the relationship between photography and metaphor, which is dispersed in different theoretical works on photography

  • The author finds these connections crucial in the educational perspective, because they help to inscribe pedagogical activities on photography in a broader humanistic education that aims at cultivating the ability to think

  • Zarysowane powyżej wątki teoretyczne i analityczno-interpretacyjne, jakie staram się poruszać także we własnej praktyce dydaktycznej na zajęciach o teorii i funkcji fotografii w kulturze, skłoniły mnie do przemyślenia prostych ćwiczeń praktycznych, które pomogłyby uczącym się jeszcze lepiej zrozumieć charakter metafory wizualnej, łączącej dającą się werbalizować myśl z niewysławialnym obrazem

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Summary

Introduction

The article is an attempt to collect and comment on discourse on the relationship between photography and metaphor, which is dispersed in different theoretical works on photography. Autor omawia szereg faktów z historii fotografii oraz zasad kompozycji obrazu fotograficznego, proponuje też omawianie konkretnych tekstów poetyckich, odwołujących się do zdjęć, ale pomija wątki teoretyczne. Album metafor fotograficznych (2009), swoistego katalogu pojęć i motywów, które „ukształtowały nie tylko nasz obraz fotografii, ale także obraz rzeczywistości, i nadal to czynią” (tamże: 10).

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