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Este artigo toma como ponto de partida o filme japonês Sol negro, realizado por Koreyoshi Kurahara em 1964, e recorre ao conceito de Arts-Based Research como principal ferramenta metodológica. A obra providencia uma série de elementos úteis para a compreensão de algumas transformações verificadas na sociedade nipónica do pósSegunda Guerra Mundial, tais como o aparecimento de uma juventude em permanente revolta com as normas sociais, o consumo e a cultura de massas, a relação da sociedade japonesa com figuras exógenas e também as alterações, simbólicas e materiais, da morfologia urbana durante o processo de globalização. Paralelamente, Sol negro incide igualmente sobre temáticas como o racismo estrutural, dirigido às comunidades afrodescendentes, e a estereotipização da sua figura através da cultura de massas., Cinema & Território, N.º 5 (2020): VARIA

Celem artykułu jest refleksja nad znaczeniem metafory czarnego słońca w utworach Nervala, zwłaszcza w słynnym sonecie El Desdichado oraz w opowiadaniu Aurelia. Pisarz francuski sięga po tę metaforę, osadzając ją jednocześnie w różnorodnych kontekstach (astronomicznym, religijnym, solarnym), by zasygnalizować melancholijny krysys – charakterystyczny nie tylko dla podmiotu lirycznego w sonecie bądź narratora w opowiadaniu, ale i dla samego autora. Co ciekawe, Nervalowska metafora, nosząca wyraźne subiektywne piętno, pojawia się w wielu innych utworach (autorstwa m.in. Jeana-Paula, Heinego, Gautiera, Hugo) i wpisuje się w romantyczne próby definiowania stanów depresyjnych. This article explores the metaphor of the black sun in Gérard de Nerval’s works, in particular the famous sonnet ‘El Desdichado’ and the autobiographical fiction ‘Aurelia’. The French writer uses this metaphor in a variety of contexts (astronomical, religious, solar) in order to signal a melancholy crisis, which characterizes not only the lyrical subject in the sonnet or the narrator in the story, but also the writer himself. Śniedziewski points out the fact that Nerval’s metaphor, though it carries a distinctively subjective mark, also appears in many other works (by writers such as Jean-Paul, Heine, Gautier, Hugo) and is inscribed into Romantic attempts to define depressive states.

İlkçağlardan beri bir düşünme ve araştırma konusu olan, çoğu zaman yaşamın karşısında bir güçsüzlük ve zayıflık, insan dünyasındaki karanlık bir yan olarak nitelendirilen melankoli, çok farklı görünümlere sahiptir ve bu nedenle kimi zaman bizi anlamı ve özellikleri hakkında yeniden düşünmeye zorlar. Melankolik olarak nitelendirebileceğimiz bazı kişiler vardır ki, yaşamları boyunca çeşitli güçlüklerin üstesinden gelmeyi başarırlar ve bir yaşam mücadelesi örneği gösterirler. Onlar sadece duygusal olarak hassas kişiler değildir. Sahip oldukları güçlü özelliklerle ve başkaldırma güçleriyle, melankolik yapılarına rağmen, yaşam karşısında sağlam bir duruşun örneğidirler. Antigone ve Hannah Arendt bu kişilerden sadece ikisidir. Bu metinde, çeşitli filozofların melankoliyle ilgili belirlemeleri ışığında, Arendt ve Antigone örneğinde, melankolinin anlamı üzerinde derinleşilecek, melankolinin gücüne işaret edilecek ve melankolinin vita activa’ya dönüşme potansiyeli açığa çıkarılacaktır, The melancholy which is the subject of thinking and research from antiquity, often described as a powerlessness and weakness in the face of life and as a dark side in the human world has very different appereances and for this reason sometimes forces us to rethink about its meaning and characteristics. There are some people we can characterize as melancholic, who have shown success in overcoming various difficulties throughout their lives and demonstrating a model of life struggle. They are not just emotionally sensitive people, with their powerful features and their power to rebel, despite their melancholic nature, they are examples of a solid stand against life. Antigone and Hannah Arendt are only two of these people. In this paper, in the light of the various philosophers' determination of melancholy, in Arendt and Antigone example, the meaning of melancholy will be deepened, the power of melancholy will be pointed out and the possibility of turning melancholy into vita activa will be revealed.

The purpose of this study is to show what melancholy and irony in my poems express and what techniques that are used to accomplish these effects. Many theorists, among them Sigmund Freud and Julia Kristeva, characterize melancholy as an experience of loss, and therefore one of my questions is what kind of losses appear in my poetry. In search for an answer I analyze the texts from both a psychoanalytic and a sociological point of view. In the latter perspective I discuss the postmodern society using concepts from contemporary thinkers like Zygmunt Bauman, Fredric Jameson and Jean Baudrillard. Finally, I also examine if melancholy has an influence on the form of the poems. The result of my investigation shows that the psychoanalytic perspecitve of Kristeva with great accuracy can predict the elements in melancholy poems but not provide interesting information about the cultural content in them. On the contrary, the sociological perspective shows a multitude of interesting connections between the feeling of loss in the poems and a dysfunctional society. My analysis also shows that both the melancholy and the irony in the poems are expressions of an alienation in a society that is characterized by an abundance of invading images, a rigid system of self control in an ”open society” and the extreme difficulty to plan for the future as a consequence of the ”unleashed market”. Furthermore, several poems have an abrupt irony in the ending and I establish that this technique has several functions in common with the parabasis in the comedy of the Greek Attic theatre. Morgan Svensson