No End in Sight: Polish Cinema in the Late Socialist Period (Russian and East European Studies)

__No End in Sight__offers a critical analysis of Polish cinema and literature during the transformative late Socialist period of the 1970s and 1980s. Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly-charged era. Despite being controlled by an authoritarian state and the doctrine of socialism, artists were able to portray the unsettled nature of the political and psychological climate of the period, and an undetermined future. In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki’s literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology.

No End in Sight offers a critical analysis of Polish cinema and literature during the transformative late Socialist period of the 1970s and 1980s. Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly-charged era. Despite being controlled by an authoritarian state and the doctrine of socialism, artists were able to portray the unsettled nature of the political and psychological climate of the period, and an undetermined future.In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki's literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology.

No End in Sight offers a critical analysis of Polish cinema and literature during the transformative late Socialist period of the 1970s and 1980s. Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly-charged era. Despite being controlled by an authoritarian state and the doctrine of socialism, artists were able to portray the unsettled nature of the political and psychological climate of the period, and an undetermined future. In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki's literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology. "Anna Krakus details how conceptions of time, permanence, and endings shaped major Polish artistic works. She further demonstrates how film and literature played a major role in shaping political consciousness during this highly charged era. Despite being controlled by an authoritarian state and a doctrine that demanded ideological conformity, artists were still able to portray the unsettled nature of the political and psychological climate of the period and an undetermined future. In analyzing films by Andrzej Wajda, Krzysztof Kieślowski, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki, Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency 'aesthetic unfinalizability.' As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical political act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to an official ideology of inevitable utopian endings"--Back cover Elwick explores how the concept of'compound individuality'brought together life scientists working in pre-Darwinian London. Scientists conducting research in comparative anatomy, physiology, cellular microscopy, embryology and the neurosciences repeatedly stated that plants and animals were compounds of smaller independent units. Discussion of a'bodily economy'was widespread. But by 1860, the most flamboyant discussions of compound individuality had come to an end in Britain. Elwick relates the growth and decline of questions about compound individuality to wider nineteenth-century debates about research standards and causality. He uses specific technical case studies to address overarching themes of reason and scientific method.