<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Izabela-Koczkodaj on kapuscinski.info</title><link>https://kapuscinski.info/en/tags/izabela-koczkodaj/</link><description>Recent content in Izabela-Koczkodaj on kapuscinski.info</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Mon, 01 Jan 2024 00:00:00 +0000</lastBuildDate><atom:link href="https://kapuscinski.info/en/tags/izabela-koczkodaj/index.xml" rel="self" type="application/rss+xml"/><item><title>Photographic Motifs in Kapuściński's Shah of Shahs</title><link>https://kapuscinski.info/en/ksiazki/szachinszach/motywy-fotograficzne-w-szachinszachu-ryszarda-kapuscinskiego/</link><pubDate>Fri, 18 Nov 2011 00:00:00 +0000</pubDate><guid>https://kapuscinski.info/en/ksiazki/szachinszach/motywy-fotograficzne-w-szachinszachu-ryszarda-kapuscinskiego/</guid><description>&lt;p&gt;&lt;strong&gt;Author: Izabela Koczkodaj&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;em&gt;Shah of Shahs&lt;/em&gt; belongs among Kapuściński&amp;rsquo;s most formally distinctive works. The book&amp;rsquo;s second chapter, entitled &amp;ldquo;Daguerreotypes,&amp;rdquo; consists of a series of photographic descriptions — vivid, still images that Kapuściński constructs from memory, imagination, and journalistic observation.&lt;/p&gt;
&lt;p&gt;The scholarly article by Izabela Koczkodaj examines the photographic motifs running through &lt;em&gt;Shah of Shahs&lt;/em&gt; as a structural and semantic device. Photography is not merely a metaphor here: Kapuściński physically browses through photographs while writing, and these photographs — their faces, gestures, and frozen moments — become the organising principle of his narrative.&lt;/p&gt;</description></item></channel></rss>