Przestrzenie Teorii
Not a member yet
911 research outputs found
Sort by
Teorie poetów. Manifesty późnoawangardowe i poetyckie programy
Get PDFThis research paper considers the avant-garde manifestos and programmatic statements of poets,in the light of the debate on the emancipatory potential of neoavant-garde art. The author shows the need to redefine the notion of artistic autonomy that new art programmes involve. In the first part of the article, the point of origin of the modern understanding of artistic autonomy is reflected on in its two basic formulas: Kantian and Hegelian. The second part evolves an analysis of three examples of contemporary metapoetic statements by Polish poets (Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak). Their neoavant-garde premises of the performative character of the theoretical discussions, and of the artistic elements that connect their theoretical ideas to the actual works of these poets lead us to the conclusion that engaged, activistic poetic practice, concerning he rules directed by the questions of autonomy of art, cannot be judged from the point of view of the Kantian definition of this autonomy, especially if we take the poetical matter of avant-garde provenance into consideration.This research paper considers the avant-garde manifestos and programmatic statements of poets,in the light of the debate on the emancipatory potential of neoavant-garde art. The author shows the need to redefine the notion of artistic autonomy that new art programmes involve. In the first part of the article, the point of origin of the modern understanding of artistic autonomy is reflected on in its two basic formulas: Kantian and Hegelian. The second part evolves an analysis of three examples of contemporary metapoetic statements by Polish poets (Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak). Their neoavant-garde premises of the performative character of the theoretical discussions, and of the artistic elements that connect their theoretical ideas to the actual works of these poets lead us to the conclusion that engaged, activistic poetic practice, concerning he rules directed by the questions of autonomy of art, cannot be judged from the point of view of the Kantian definition of this autonomy, especially if we take the poetical matter of avant-garde provenance into consideration
Odwrócony „świat na opak”. O Masce Śmierci Szkarłatnej Edgara Allana Poe w kontekście teorii karnawału
Get PDFThis paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion.This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion
Dramaturgia pojęć
Get PDFThe article is an introduction to the dramaturgies in contemporary humanities and focuses on the problem of the dramaturgy of concepts. Using Olga Tokarczuk’s example of the “tender narrator” and Wisława Szymborska’s poem Night, it shows different ways of creating attitudes towards the disintegration of the vision of the world based on the topos of the Book.The article is an introduction to the dramaturgies in contemporary humanities and focuses on the problem of the dramaturgy of concepts. Using Olga Tokarczuk’s example of the “tender narrator” and Wisława Szymborska’s poem Night, it shows different ways of creating attitudes towards the disintegration of the vision of the world based on the topos of the Book
Joanna, żona Chuzy Lesi Ukrainki jako nowy model komunikacji w modernistycznej literaturze ukraińskiej
Get PDFThis article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation.This article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation
Dramaturgia muzyczna
Get PDFIn her paper, Ewa Wąchocka examines the phenomenon of recent dramatic works becoming increasingly more ‘musical’ and the terminological shift it brought about, i.e. the inclusion of the term ‘musical dramaturgy’ in writing for the stage. The author argues that far from being limited to the sounds of speech and language in general, musicality also encompasses a variety of non-musical sounds, the unravelling of the play’s narrative and the psychological makeup of its characters; it also penetrates deeply into the structure of the text. In the analysis of plays by W. Murek, A. Grzegorzewska, and S. Bogacz, the author demonstrates how essential the inspirations sourced from musical culture are for recent dramatic works: the 20th-century experiments with music, the discovery of how potent sound expression can be, or the most technologically advanced methods of sound reproduction. By presenting the many and varied dramatic strategies, the author shows that contemporary playwrights not only use musicality to represent the sound landscape of the world but, first and foremost, to create the ontology of an internally conflicted world.In her paper, Ewa Wąchocka examines the phenomenon of recent dramatic works becoming increasingly more ‘musical’ and the terminological shift it brought about, i.e. the inclusion of the term ‘musical dramaturgy’ in writing for the stage. The author argues that far from being limited to the sounds of speech and language in general, musicality also encompasses a variety of non-musical sounds, the unravelling of the play’s narrative and the psychological makeup of its characters; it also penetrates deeply into the structure of the text. In the analysis of plays by W. Murek, A. Grzegorzewska, and S. Bogacz, the author demonstrates how essential the inspirations sourced from musical culture are for recent dramatic works: the 20th-century experiments with music, the discovery of how potent sound expression can be, or the most technologically advanced methods of sound reproduction. By presenting the many and varied dramatic strategies, the author shows that contemporary playwrights not only use musicality to represent the sound landscape of the world but, first and foremost, to create the ontology of an internally conflicted world
Szorstki i chropowaty dotyk – o dramaturgii zmysłów
Get PDFToday, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater
Ironia jako dekonstrukcja umierania w Listach Witolda Wirpszy
Get PDFThis paper focuses on Witold Wirpsza’s Letters from the volume Second Resistance. Poems 1960–1964 (1965) and shows how irony becomes a deconstruction of dying, and at the same time of itself and of literary communication in general. The persiflage-oriented ars moriendi turns out to be a diagnosis directed against the discourses of thanatology, operating in institutions of power, medicine or religion (public letters) and family (private letters). Wirpsza designed it as a play of signs and communication noise in which meanings embedded in surface and deeper semantic levels intersect and contradict each other. This is accomplished by writing about death through epistolary, postal, philatelic tropes, concerning message, mediation and transmission. What are particularly important are the metaliterary parts, parabases intensifying the irony, which contain the vision of a postage stamp robbery as reality transformed into signs. The interpretation of the Letters reveals that the deconstructive irony makes epistolary poetry a literary event – the letter, writing that is to be stolen, killed, read by the reader in her or his own way.This paper focuses on Witold Wirpsza’s Letters from the volume Second Resistance. Poems 1960–1964 (1965) and shows how irony becomes a deconstruction of dying, and at the same time of itself and of literary communication in general. The persiflage-oriented ars moriendi turns out to be a diagnosis directed against the discourses of thanatology, operating in institutions of power, medicine or religion (public letters) and family (private letters). Wirpsza designed it as a play of signs and communication noise in which meanings embedded in surface and deeper semantic levels intersect and contradict each other. This is accomplished by writing about death through epistolary, postal, philatelic tropes, concerning message, mediation and transmission. What are particularly important are the metaliterary parts, parabases intensifying the irony, which contain the vision of a postage stamp robbery as reality transformed into signs. The interpretation of the Letters reveals that the deconstructive irony makes epistolary poetry a literary event – the letter, writing that is to be stolen, killed, read by the reader in her or his own way
Akt założycielski polskiego strukturalizmu immanentnego: Juliusza Kleinera Treść i forma w poezji
Get PDFIn Polish literary studies methodology, Kleiner’s status as entirely marginal, if not anachronistic, can be justified only on one condition, namely if we overlook the study Content and form in poetry (“Przegląd Warszawski” 1922, r. 2, vol. 2, pp. 323–333), for it can be read as the rejected cornerstone of Polish immanent structuralism. Due to the ambiguity of the term “structuralism”, it is necessary to define its meaning here: it will be determined by the historical context, i.e. the Course in General Linguistics (first edition: 1916). Adopting Janusz Sławiński’s terminology, we may add that it is a rejected cornerstone of immanent (“unconscious”) structuralism not a formulated one.In Polish literary studies methodology, Kleiner’s status as entirely marginal, if not anachronistic, can be justified only on one condition, namely if we overlook the study Content and form in poetry (“Przegląd Warszawski” 1922, r. 2, vol. 2, pp. 323–333), for it can be read as the rejected cornerstone of Polish immanent structuralism. Due to the ambiguity of the term “structuralism”, it is necessary to define its meaning here: it will be determined by the historical context, i.e. the Course in General Linguistics (first edition: 1916). Adopting Janusz Sławiński’s terminology, we may add that it is a rejected cornerstone of immanent (“unconscious”) structuralism not a formulated one
Sataniczność kreacji bohatera w Arabie Juliusza Słowackiego
Get PDFThis article attempts to read Juliusz Słowacki’s Arab from the comparative perspective of John Milton’s Paradise Lost. The protagonist of Słowacki’s oriental tale, who is a variation on the Byronic hero, also shows similarities with Milton’s Satan: unceasing motion, obsession of revenge, loneliness, axiological preference of evil. The analysis of those similarities creates a new interpretative context for Arab, which was hitherto regarded as a superficial study of the pathological psyche or a caricature of the Byronic model.This article attempts to read Juliusz Słowacki’s Arab from the comparative perspective of John Milton’s Paradise Lost. The protagonist of Słowacki’s oriental tale, who is a variation on the Byronic hero, also shows similarities with Milton’s Satan: unceasing motion, obsession of revenge, loneliness, axiological preference of evil. The analysis of those similarities creates a new interpretative context for Arab, which was hitherto regarded as a superficial study of the pathological psyche or a caricature of the Byronic model