A A cognitive exploration of the visual metonymy of hands in Krzysztof Kieślowski’s “Three Colours: White” (1994)

Inga Dale

doi:10.15584/slowo.2025.16.25

Autor

Inga Dale Uniwersytet Radomski https://orcid.org/0000-0001-6227-8153

DOI:

https://doi.org/10.15584/slowo.2025.16.25

Słowa kluczowe:

metonimia wizualna, schemat POJEMNIKA, zbliżenie, stany wewnętrzne

Abstrakt

Artykuł zawiera wyniki badań nad wizualnymi realizacjami metonimii rąk, które funkcjonują jako „przekaźniki” stanów wewnętrznych, zamierzeń i działań bohaterów w filmie Krzysztofa Kieślowskiego „Trzy kolory: Biały” (1994). Do analizy wykorzystano pojęciowe schematy wyobrażeniowe POJEMNIKA (Lakoff & Johnson, 1980) oraz koncepcję „dynamicznych wzorców zawierania” (Dewell, 2005; Coëgnarts, 2020) w badaniu metonimicznej reprezentacji w zbliżeniach części ciała w ujęciu Force-ville (2009/2023). Analiza ujęć wykazuje, że wyeksponowane w ujęciach dłonie pełnią funkcję metonimicznych nośników władzy i kontroli, wzmacniając metonimię CZĘŚĆ ZA CAŁOŚĆ (Radden & Kövecses, 1999/2007). Wyniki badania są zgodne z ramami teoretycznymi Forceville (2009, 2023), podkreślającymi metonimię jako świadomy wybór komunikacyjny oparty na teorii relewancji i wspólnych ramach uwagi. Badanie przyczynia się do analizy dyskursu multimodalnego oraz proponuje kierunki przyszłych badań nad metonimią wizualną w różnych gatunkach filmowych i kontekstach kulturowych.

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