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Hoża jako metafora
Full text linkThe article analyses Paweł Kludkiewicz’s ‘drawn book’ Hoża. My street in the perspective of logovisuality studies. The problem of the relationship between drawing (image) and writing (word) in the context of autobiography is explored, and the relationship of the book’s bi-media form with the transitional crises (of the autobiographical self, the economic one, the pandemic and of the urban space) to which the story refers.The article analyses Paweł Kludkiewicz’s ‘drawn book’ Hoża. My street in the perspective of logovisuality studies. The problem of the relationship between drawing (image) and writing (word) in the context of autobiography is explored, and the relationship of the book’s bi-media form with the transitional crises (of the autobiographical self, the economic one, the pandemic and of the urban space) to which the story refers
Eksplozja ćmysłów, implozja słowa. Primum Mobile Zenona Fajfera
Full text linkThe article talks about Zenon Fajfer’s kinetic poem titled Primum Mobile, published in the volume ten letters in 2010, which is a new attempt to find a different kind of literacy, postulated by futurists – and in particular corresponding to the need to exceed the limits set by the book. However, in this case (exceptionally) total literature does not focus on materiality (at least not in its form), but “happens” electronically. It is some kind of looking at pure movement, at what drives emotions, what gives energy to the word. Fajfer opens the poem by placing his Primum Mobile in the poetic punctum, in the dot above the i, represented as a black square on a white background, and thus the supremacist atom of art. The author pays particular attention to the figure of the “moth-senses” as a way of experiencing, based on visual-tactile perception, associated with the desire to annihilate, i.e. with ekpyrosis. The article, in addition to the analysis of Fajfer’s work, deals with liberatic visions of freeing words, the search for a new book and the fear of the crisis of the letter as what drives the imperative of movement in a liberatic work.The article talks about Zenon Fajfer’s kinetic poem titled Primum Mobile, published in the volume ten letters in 2010, which is a new attempt to find a different kind of literacy, postulated by futurists – and in particular corresponding to the need to exceed the limits set by the book. However, in this case (exceptionally) total literature does not focus on materiality (at least not in its form), but “happens” electronically. It is some kind of looking at pure movement, at what drives emotions, what gives energy to the word. Fajfer opens the poem by placing his Primum Mobile in the poetic punctum, in the dot above the i, represented as a black square on a white background, and thus the supremacist atom of art. The author pays particular attention to the figure of the “moth-senses” as a way of experiencing, based on visual-tactile perception, associated with the desire to annihilate, i.e. with ekpyrosis. The article, in addition to the analysis of Fajfer’s work, deals with liberatic visions of freeing words, the search for a new book and the fear of the crisis of the letter as what drives the imperative of movement in a liberatic work
„Byłaby zbiornikiem, kontenerem zdolnym pomieścić różno- rodne formy, tony i głosy”. Żałobny dyskurs Marka Bieńczyka
Full text linkThe article is an analysis of Kontener by Marek Bieńczyk. This is a special mourning essay, ostensibly devoted to the mother, but mainly about cultural approaches to mourning. The deceased becomes a starting point, a pretext for starting a filial journey through literary representations of worry, pain and longing. The container turns out to be a collection of anecdotes, literary references, testimonies of artists and philosophers, a space gathering commonly used figures and images of loss. However, from under this mantle of erudition, single images emerge, punctum, showing the private experience of the suffering son.The article is an analysis of Kontener by Marek Bieńczyk. This is a special mourning essay, ostensibly devoted to the mother, but mainly about cultural approaches to mourning. The deceased becomes a starting point, a pretext for starting a filial journey through literary representations of worry, pain and longing. The container turns out to be a collection of anecdotes, literary references, testimonies of artists and philosophers, a space gathering commonly used figures and images of loss. However, from under this mantle of erudition, single images emerge, punctum, showing the private experience of the suffering son
LiBerackie doświadczenie estetyczne – na przykładzie twórczości Radosława Nowakowskiego
Full text linkOn April 4, the opening of the exhibition Always in between beyond over – Radosław Nowakowski’s books took place at the Jagiellonian Library in Krakow. It is worth, in the context of performative and sensual phrases, presenting the achievements of the author of the Cartographic treatise or Sienkiewicz Street in Kielce, especially since the author had the opportunity to participate in this exhibition and interview the creator himself. Liberature – its creation and reading – is an unusual aesthetic experience. In his text-manifesto from 2000, Nowakowski emphasizes “my books are what I want them to be (it is a completely different matter whether books are interested in what I want) – and I want the book to be an integral work, so that all its the elements fit together, had semantic value and took a greater or lesser part in telling this or that story” [source: liberatorium.com]. In his case, the term “total literaturę” takes on an additional meaning: he writes, draws and publishes his books himself. A book becomes a literary work of art – it can be read, looked at, touched, sometimes smelled, tasted or listened to at the same time. The polysensory aesthetic experience becomes both a form of creative, receptive and cognitive practice.On April 4, the opening of the exhibition Always in between beyond over – Radosław Nowakowski’s books took place at the Jagiellonian Library in Krakow. It is worth, in the context of performative and sensual phrases, presenting the achievements of the author of the Cartographic treatise or Sienkiewicz Street in Kielce, especially since the author had the opportunity to participate in this exhibition and interview the creator himself. Liberature – its creation and reading – is an unusual aesthetic experience. In his text-manifesto from 2000, Nowakowski emphasizes “my books are what I want them to be (it is a completely different matter whether books are interested in what I want) – and I want the book to be an integral work, so that all its the elements fit together, had semantic value and took a greater or lesser part in telling this or that story” [source: liberatorium.com]. In his case, the term “total literaturę” takes on an additional meaning: he writes, draws and publishes his books himself. A book becomes a literary work of art – it can be read, looked at, touched, sometimes smelled, tasted or listened to at the same time. The polysensory aesthetic experience becomes both a form of creative, receptive and cognitive practice
Po co Peiper?
Full text linkThe article confronts Tadeusz Peiper’s ideas contained in his programme manifestos, published mainly in the pages of “Zwrotnica” in the 1920s, with the evolution of modern civilisation. The fundamental problem is the failure of the optimistic vision of the materialist turn when confronted with economic, social and ecological crisis. The sketch draws attention to the ‘flight from freedom’ embodied in avant-garde manifestos and the divergence of Peiperian rationalism from the realities of the post-World War I world
Kinoteatrcyrk. Bruno Schulz i medialna episteme awangardy
Full text linkThe aim of the article is to discuss the media topics in the prose of Bruno Schulz in the context of the media reflection of the creators of the interwar avant-garde. The issues of cinema, theater and circus, and especially their connection and confrontation, appear both in many stories of the Drohobych writer, and are an important subject of reflection by such authors as Tadeusz Peiper, Stanisław Ignacy Witkiewicz and Karol Irzykowski. The juxtaposition of literary, critical and essayistic reflection allows for an initial examination of the media a priori, the media episteme of the first decades of the 20th century, and to show how literature reflects on the new visibility and visualisation of the world
Węgiel w awangardzie (Tadeusz Peiper – Julian Przyboś – Jan Brzękowski – Bolesław Lubosz)
Full text linkThe article summarizes the avant-garde poetry of Tadeusz Peiper, Julian Przyboś, Jan Brzękowski, and their successor, Bolesław Lubosz, devoted to hard coal. Observing the partial break of this poetry with the romantic vision of the underground, which did not specify coal as a separate matter, the author reflects on how to shape the language of the new, coal-based materiality. The article proposes to see it in four close-ups: coal utopias, coal sprays, coal energies and birds made of coal (the latter metaphor, derived from Peiper’s poem, refers to the work of Tadeusz Kłak, which is a direct inspiration for the arrangement of the material in this article)
Pszczoły w „złym ulu”. Anamneza Bolesława Leśmiana
Full text linkBolesław Leśmian’s poem Pszczoły from the volume Napój cienisty (1936), as well as other texts by the poet containing a vision of bees and his autobiographical elegies, are read in this article as literary anamnesis that show the recovery of memory about what is source for existence and for individual identity. The interpretation of the riddle encrypted in the poem (“the charade of flash”, “the buzzing puzzle of flight”) is conducted from the perspective of Gnostic though, Platonism and alchemy, in particular – due to the imagery and symbolism of the poem – the hermetic illuminations and emblems are referred to. In conclusion, it was pointed out that Leśmian’s poetry, as an integrative and polysensory anamnesis, awakens the reader’s memory.Bolesław Leśmian’s poem Pszczoły from the volume Napój cienisty (1936), as well as other texts by the poet containing a vision of bees and his autobiographical elegies, are read in this article as literary anamnesis that show the recovery of memory about what is source for existence and for individual identity. The interpretation of the riddle encrypted in the poem (“the charade of flash”, “the buzzing puzzle of flight”) is conducted from the perspective of Gnostic though, Platonism and alchemy, in particular – due to the imagery and symbolism of the poem – the hermetic illuminations and emblems are referred to. In conclusion, it was pointed out that Leśmian’s poetry, as an integrative and polysensory anamnesis, awakens the reader’s memory
Philology – the Art of Memory: On Stanisław Wyspiański’s Digital Archive
Full text linkThe paper discusses the issue of new philology in the context of the project of Stanisław Wyspiański’s Digital Archive. Inspired by projects by Jerome McGann and John Bryant (Rossetti Archive and Melville Electronic Library), the author considers the motivations behind and the benefits of such a venture. Wyspiański’s multimediality and dynamicity of the creative process suspending finality encourage the use of digital tools in academic research and educational activities related to his works. An analysis of Wyspiański’s creative process – a writer, painter, man of the theater – can reveal a complex, heterogenous simultaneity of his artistic activities.The paper discusses the issue of new philology in the context of the project of Stanisław Wyspiański’s Digital Archive. Inspired by projects by Jerome McGann and John Bryant (Rossetti Archive and Melville Electronic Library), the author considers the motivations behind and the benefits of such a venture. Wyspiański’s multimediality and dynamicity of the creative process suspending finality encourage the use of digital tools in academic research and educational activities related to his works. An analysis of Wyspiański’s creative process – a writer, painter, man of the theater – can reveal a complex, heterogenous simultaneity of his artistic activities
O poczuciu tajemnicy i dylematach gatunkowych w obrębie kategorii konfesyjności w prozie Swietłany Aleksijewicz Czarnobylska modlitwa. Kronika przyszłości
Full text linkThe article refers to Chernobyl prayer, the documentary prose of Svietlana Alexievich. The aim of the article is to draw attention to the presence of the genres of confession and prayer in the reportage. They are used by the interlocutors, who entrusted the journalist with their accounts of the traumatic experiences in connection with the Chernobyl nuclear disaster in 1986. The author focuses on showing various features of both genres (intimacy, familiarity, discretion) and describes them with the perspective of an average person who unknowingly and instinctively searches in them for answers that medicine and science cannot give. Alexievich’s reportage describes the loneliness of an individual in the face of events that most ignore in silence, while their participants remain helpless and mutilated for life.The article refers to Chernobyl prayer, the documentary prose of Svietlana Alexievich. The aim of the article is to draw attention to the presence of the genres of confession and prayer in the reportage. They are used by the interlocutors, who entrusted the journalist with their accounts of the traumatic experiences in connection with the Chernobyl nuclear disaster in 1986. The author focuses on showing various features of both genres (intimacy, familiarity, discretion) and describes them with the perspective of an average person who unknowingly and instinctively searches in them for answers that medicine and science cannot give. Alexievich’s reportage describes the loneliness of an individual in the face of events that most ignore in silence, while their participants remain helpless and mutilated for life