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„Ani cienia wspólnoty”. Wątki immunologiczne w powieściach Magdaleny Tulli
Get PDFThe paper is an attempt to interpret Magdalena Tulli’s novels in the context of the immunological paradigm. Immunological threads are traced on three levels: firstly, in the context of the communities described in Sny i kamienie [Dreams and stones], Skaza [Flaw] and W czerwieni [In Red]; secondly, with regard to the narrative constantly encountering problems such as ‘unwanted threads’ that degenerate the stories and prevent the narrative from bringing them to an end. Thirdly, in the context of post-memory, that is, a memory with its roots extending beyond the experiences of the subject. According to the thesis she puts forward, Tulli activates the immunological discourse on these three levels.The paper is an attempt to interpret Magdalena Tulli’s novels in the context of the immunological paradigm. Immunological threads are traced on three levels: firstly, in the context of the communities described in Sny i kamienie [Dreams and stones], Skaza [Flaw] and W czerwieni [In Red]; secondly, with regard to the narrative constantly encountering problems such as ‘unwanted threads’ that degenerate the stories and prevent the narrative from bringing them to an end. Thirdly, in the context of post-memory, that is, a memory with its roots extending beyond the experiences of the subject. According to the thesis she puts forward, Tulli activates the immunological discourse on these three levels
Literaturoznawcza analiza/interpretacja krytyczna: Józef Tischner Myślenie z wnętrza metafory versus Bartłomiej Maliszewski Metafora i aksjologia wzorzec człowieka w renesansowej literaturze parenetycznej
Get PDFJózef Tischner’s Myślenie z wnętrza metafory [Thinking From Within the Metaphor] and Bartłomiej Maliszewski’s Metafora i aksjologia [Metaphor and Axiology] are texts that are both described (analysed) and interpreted here. However, the debatability of the dual understanding of metaphor (‘inside’ – ‘outside’) is only a preliminary difficulty. For it will be incomparably more important that when we read Thinking From Within the Metaphor, then we will not find an explanation of the authorial meaning attributed to the after all key term of his text, and this is by no means a coincidence. The fundamental opposition – unambiguous genre language versus axiological and agathological analogical (metaphorical, symbolic) language – is certainly a persuasive construction, but not necessarily a valid one. A fundamental literary problem: is the Platonic cave really a metaphor? In Bartłomiej Maliszewski’s book Metafora i aksjologia wzorzec człowieka w renesansowej literaturze parenetycznej [Metaphor and Axiology. The Model of Man in Renaissance Parenetic Literature], ‘metaphor’ is equated with the ‘figurative’. There would be nothing reprehensible in this if not for the fact that these two key terms in the book co-create a state of approximate numerical equilibrium, while (and this is more important) proving to be both identical and disjointed. The lack of a definition of ‘metaphor’ and ‘figurative’ makes the whole impressive argument resemble a colossus standing on two legs of clay, over which it stumbles as they become entangled. The legitimacy of the combined view of Thinking From Within the Metaphor and Metaphor and Axiology is contained primarily in the fact that Renaissance parenesis can be seen as one of the historical forms of agathology.Józef Tischner’s Myślenie z wnętrza metafory [Thinking From Within the Metaphor] and Bartłomiej Maliszewski’s Metafora i aksjologia [Metaphor and Axiology] are texts that are both described (analysed) and interpreted here. However, the debatability of the dual understanding of metaphor (‘inside’ – ‘outside’) is only a preliminary difficulty. For it will be incomparably more important that when we read Thinking From Within the Metaphor, then we will not find an explanation of the authorial meaning attributed to the after all key term of his text, and this is by no means a coincidence. The fundamental opposition – unambiguous genre language versus axiological and agathological analogical (metaphorical, symbolic) language – is certainly a persuasive construction, but not necessarily a valid one. A fundamental literary problem: is the Platonic cave really a metaphor? In Bartłomiej Maliszewski’s book Metafora i aksjologia wzorzec człowieka w renesansowej literaturze parenetycznej [Metaphor and Axiology. The Model of Man in Renaissance Parenetic Literature], ‘metaphor’ is equated with the ‘figurative’. There would be nothing reprehensible in this if not for the fact that these two key terms in the book co-create a state of approximate numerical equilibrium, while (and this is more important) proving to be both identical and disjointed. The lack of a definition of ‘metaphor’ and ‘figurative’ makes the whole impressive argument resemble a colossus standing on two legs of clay, over which it stumbles as they become entangled. The legitimacy of the combined view of Thinking From Within the Metaphor and Metaphor and Axiology is contained primarily in the fact that Renaissance parenesis can be seen as one of the historical forms of agathology
Scena krytyczna
Get PDFThe editorial concerns the characteristics of a new section entitled Critical Scene, which will present critical articles showing how statements about literature, art and theory function in the academic field. It is a proposal to create a model of dramaturgical critique that will show the process of creating the relationship between a work and the field in which it operates. The new section strengthens the vision of dramaturgical literary studies developed on various stages combining art and science.The editorial concerns the characteristics of a new section entitled Critical Scene, which will present critical articles showing how statements about literature, art and theory function in the academic field. It is a proposal to create a model of dramaturgical critique that will show the process of creating the relationship between a work and the field in which it operates. The new section strengthens the vision of dramaturgical literary studies developed on various stages combining art and science
Obraz i tekst. Na wysokiej górze. Commedia della lingua Krystyny Miłobędzkiej w ilustracjach Iwony Chmielewskiej
Get PDFA fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East.A fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East
W świecie brzmień, Sienkiewiczowskich postaci i wartości (arcydzieł): z Profesorem Andrzejem Stoffem rozmawia Beata Garlej
Get PDFThis is a transcript of a conversation with Andrzej Stoff, for whom Roman Witold Ingarden’s philosophical thought on art and literature is a source of inspiration for his research. The interview presents a few issues representative of the analyses of the Toruń-based scholar, arising from Ingarden’s theory of literary work, which for the interlocutor turns out to be an “open” theory, also encouraging today’s literary scholars and literary theorists to continue and deepen the assumptions adopted by Stoff when considering the problems of the ontology and axiology of a literary work.This is a transcript of a conversation with Andrzej Stoff, for whom Roman Witold Ingarden’s philosophical thought on art and literature is a source of inspiration for his research. The interview presents a few issues representative of the analyses of the Toruń-based scholar, arising from Ingarden’s theory of literary work, which for the interlocutor turns out to be an “open” theory, also encouraging today’s literary scholars and literary theorists to continue and deepen the assumptions adopted by Stoff when considering the problems of the ontology and axiology of a literary work
„Rojenia międzyanatomiczne” i „anagramy ciała”: Konstanty A. Jeleński i prace Hansa Bellmera
Get PDFThe aim of this article is to discuss and analyze an extensive essay by Konstanty A. Jeleński, entitled Bellmer albo anatomia miłości fizycznej i nieświadomości [Bellmer or the anatomy of physical love and the unconsciousness], devoted to the works of Hans Bellmer, a German painter, drawer and writer. The article presents the scope and nature of artistic activities undertaken by Bellmer and the way in which these activities and works were described and interpreted by Jeleński. The aim of the article is to show the basic contexts in which Jeleński placed controversial and ambiguous works by the German artist. The article also mentions the main interpretative keys Jeleński uses to show the creative philosophy and uncover the secrets of artistic expression, especially the mechanisms of perceiving the body and visual manifestations of unconsciousness which come to the fore in Bellmer’s works.The aim of this article is to discuss and analyze an extensive essay by Konstanty A. Jeleński, entitled Bellmer albo anatomia miłości fizycznej i nieświadomości [Bellmer or the anatomy of physical love and the unconsciousness], devoted to the works of Hans Bellmer, a German painter, drawer and writer. The article presents the scope and nature of artistic activities undertaken by Bellmer and the way in which these activities and works were described and interpreted by Jeleński. The aim of the article is to show the basic contexts in which Jeleński placed controversial and ambiguous works by the German artist. The article also mentions the main interpretative keys Jeleński uses to show the creative philosophy and uncover the secrets of artistic expression, especially the mechanisms of perceiving the body and visual manifestations of unconsciousness which come to the fore in Bellmer’s works
„Negatyw świata”. Inspiracje techniką graficzną jako źródło refleksji metaliterackiej – na przykładzie wiersza Ewy Lipskiej Albatros i grawer
Get PDFThe paper presents an analysis of Ewa Lipska’s poem Albatros i grawer [‘The Albatross and the Engraver’], which is a rare example of evoking a work of graphic art in a poem. The metaphors used in the text, exploiting the field of meaning related to graphics, become the basis for metaliterary reflection. Important interpretative contexts indicated in the article are, on one hand, the history of graphic art and its technical arcana, and on the other, the poem The Albatross by Charles Baudelaire, alluded to in the poem and, by the same token, modernist ideas about the art and the artist. The poem’s consideration of the problem of ‘a negative’ and ‘an imprint’ leads to questions about the relationship between art and reality, a relationship which, radically transformed in the modern era, demands an ethical evaluation, just as the poem suggests.The paper presents an analysis of Ewa Lipska’s poem Albatros i grawer [‘The Albatross and the Engraver’], which is a rare example of evoking a work of graphic art in a poem. The metaphors used in the text, exploiting the field of meaning related to graphics, become the basis for metaliterary reflection. Important interpretative contexts indicated in the article are, on one hand, the history of graphic art and its technical arcana, and on the other, the poem The Albatross by Charles Baudelaire, alluded to in the poem and, by the same token, modernist ideas about the art and the artist. The poem’s consideration of the problem of ‘a negative’ and ‘an imprint’ leads to questions about the relationship between art and reality, a relationship which, radically transformed in the modern era, demands an ethical evaluation, just as the poem suggests
Koniec wieku poetów? O zszyciach literatury i filozofii
Get PDFThe article presents an attempt to outline, from a mainly typological and partly historical perspective, what the author considers the most important varieties of the relationship between philosophy and literature (which is, of course, understood here in a working and broad sense, as poesis). In the first of these varieties, for which the fundamental significance is Plato’s gesture of excluding poets from the state, the philosophical logos defines itself in opposition to literature, or mythos. In the second, which appears to predominate from Aristotle to the 18th century, the relationship between philosophy and literature takes on a more neutral character: the former provides the latter with motifs, themes, topics, mainly related to moral philosophy in the broadest sense, while the latter provides the former with discursive modes, such as genre. Modern aesthetics and the philosophy and theory of literature (fundamentally different from the tradition of the great poets and rhetoricians of the 16th and 17th centuries), which emerged together with transcendental philosophy and its reception in German Romanticism, contributed both to the increased interest among philosophers in literature and to a clear embedding, or even closing, of literature in philosophical notions, which originated mainly in the tradition of transcendentalism and dialectical thought. Finally, the beginning of the twentieth century is distinguished, in most of the major continental philosophical traditions, by a tendency to seek, or to find, in literature the most important partner of philosophical thinking, and sometimes even the identity of philosophy.The article presents an attempt to outline, from a mainly typological and partly historical perspective, what the author considers the most important varieties of the relationship between philosophy and literature (which is, of course, understood here in a working and broad sense, as poesis). In the first of these varieties, for which the fundamental significance is Plato’s gesture of excluding poets from the state, the philosophical logos defines itself in opposition to literature, or mythos. In the second, which appears to predominate from Aristotle to the 18th century, the relationship between philosophy and literature takes on a more neutral character: the former provides the latter with motifs, themes, topics, mainly related to moral philosophy in the broadest sense, while the latter provides the former with discursive modes, such as genre. Modern aesthetics and the philosophy and theory of literature (fundamentally different from the tradition of the great poets and rhetoricians of the 16th and 17th centuries), which emerged together with transcendental philosophy and its reception in German Romanticism, contributed both to the increased interest among philosophers in literature and to a clear embedding, or even closing, of literature in philosophical notions, which originated mainly in the tradition of transcendentalism and dialectical thought. Finally, the beginning of the twentieth century is distinguished, in most of the major continental philosophical traditions, by a tendency to seek, or to find, in literature the most important partner of philosophical thinking, and sometimes even the identity of philosophy
Czasopismo jako tajemnica. Wariacje na temat czasu i pisma
Get PDFThis editorial is an impressionistic work written on the occasion of the 20th anniversary of the journal “Przestrzenie Teorii” (“Spaces in Theory”), predominantly emphasising the history of the establishment and the nature of the journal associated with two universities – Adam Mickiewicz University in Poznań and the Jagiellonian University in Kraków. The jubilee issue is devoted to literature as a mysteryThis editorial is an impressionistic work written on the occasion of the 20th anniversary of the journal “Przestrzenie Teorii” (“Spaces in Theory”), predominantly emphasising the history of the establishment and the nature of the journal associated with two universities – Adam Mickiewicz University in Poznań and the Jagiellonian University in Kraków. The jubilee issue is devoted to literature as a myster
U źródeł chaosu. Relacje słowa i obrazu w Czarnych kartach grupy Oneiron
Get PDFThe article presents the first extended discussion of the structure of Oneiron’s Black Cards – the neoavantgarde project connecting image and word. Using literary instruments, the author attempts to read this work on three basic levels: the perception of the series, the analysis of the space of every single card, and an attempt to decipher the autonomous “micro-works” falling into the card area.Multilayerism refers to the original premise of the creators. Thanks to their collective and aleatory work, Black Cards were meant to reflect the game of the subconscious. This reading of the Cards on three levels is aimed at identifying the sources of inspiration of the artists participating in the workand determining the role of words and literature in this multifaceted intention.The article presents the first extended discussion of the structure of Oneiron’s Black Cards – the neoavantgarde project connecting image and word. Using literary instruments, the author attempts to read this work on three basic levels: the perception of the series, the analysis of the space of every single card, and an attempt to decipher the autonomous “micro-works” falling into the card area.Multilayerism refers to the original premise of the creators. Thanks to their collective and aleatory work, Black Cards were meant to reflect the game of the subconscious. This reading of the Cards on three levels is aimed at identifying the sources of inspiration of the artists participating in the workand determining the role of words and literature in this multifaceted intention