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Czytanie audiowizualności. O literaturze w cyberprzestrzeni
Get PDFA review of the book entitled Literature – new media. Homo irretitus in the literary culture of the 20th and 21st centuries (Literatura – nowe media. Homo irretitus w kulturze literackiej XX i XXI wieku) deals with the clash between literature and new media. The book constitutes an academic guide to the world of intermedia narration and cyber-literature. It may serve students, teachers and form tutors as a source of additional knowledge on the convergence of media. The authors reflect widely upon the transformation of both literary creation and the theory dealing with the art of language, as well as upon the changes in the study of literature, books and reading in the 21st century
Performatyw: suwerenna władza zamiast subwersji? (Austin, Derrida, Butler)
Get PDFIn contrast to Derrida and Butler, who overemphasized the subversive force of performatives, here the focus is on the immanent (micro-)sovereign power of performative utterances. Hence, what is proposed here is a search for the basic concept of power at the micro-level of speech acts. Before being codified with reference to certain stable power relations or contexts and before being objectified in different forms of domination and/or violence, power must be analyzed at the level of immediate performatives, where the struggle for power-codification could be followed in vivo. A task like this requires a conceptual shift: the illocutionary force of speech acts must be reinterpreted as their immediate evaluative force, i.e. as illocutionary power. Taking into account Derrida’s critique of Austin’s theory of speech acts, we should recognize that performatives arenot singular or atomistic speech acts, nor are they pre-determined by certain already given contexts or procedures. They are embedded in a citation and trace signs, without any final or autonomous signification. And yet, performatives have a specific kind of sovereignty. It is not the sovereignty of the ‘act’ itself but of the act’s performance. The actual (in the sense of ‘ongoing’) performance has an immediate force that is irreversible and also non-citable. Even in the case ofa direct citation, a citing performance sediments into an irreversible arrow, thus immediately reordering and re-evaluating all points in its trajectory. This performance does not fulfill a perspective, but it irreversibly forms a perspective. This effect of the virtuosity of an immediate performance could be called the power effect since it not only demonstrates how we make things with words, but also how we re-evaluate the things that were made through words. If an ongoing performance is such an immediate source of micro-power, then its role is not only to be ironically subversive and resistant to the already existing macro-codifications of power and domination. Performatives have their own sovereign power and are therefore capable of a direct affirmation and re-affirmation of the intersubjective frames of our experience.In contrast to Derrida and Butler, who overemphasized the subversive force of performatives, here the focus is on the immanent (micro-)sovereign power of performative utterances. Hence, what is proposed here is a search for the basic concept of power at the micro-level of speech acts. Before being codified with reference to certain stable power relations or contexts and before being objectified in different forms of domination and/or violence, power must be analyzed at the level of immediate performatives, where the struggle for power-codification could be followed in vivo. A task like this requires a conceptual shift: the illocutionary force of speech acts must be reinterpreted as their immediate evaluative force, i.e. as illocutionary power. Taking into account Derrida’s critique of Austin’s theory of speech acts, we should recognize that performatives are not singular or atomistic speech acts, nor are they pre-determined by certain already given contexts or procedures. They are embedded in a citation and trace signs, without any final or autonomous signification. And yet, performatives have a specific kind of sovereignty. It is not the sovereignty of the ‘act’ itself but of the act’s performance. The actual (in the sense of ‘ongoing’) performance has an immediate force that is irreversible and also non-citable. Even in the case of a direct citation, a citing performance sediments into an irreversible arrow, thus immediately reordering and re-evaluating all points in its trajectory. This performance does not fulfill a perspective, but it irreversibly forms a perspective. This effect of the virtuosity of an immediate performance could be called the power effect since it not only demonstrates how we make things with words, but also how we re-evaluate the things that were made through words. If an ongoing performance is such an immediate source of micro-power, then its role is not only to be ironically subversive and resistant to the already existing macro-codifications of power and domination. Performatives have their own sovereign power and are therefore capable of a direct affirmation and re-affirmation of the intersubjective frames of our experience
(Nie) Chcieć być wszystkim. Stawrogin i najgłębsza otchłań Dostojewskiego
Get PDFThis paper proposes a new interpretation of Niyevsky’s novel The Devils. This reading opposes the very influential line of interpretation employed in wkolai Vsevolodowich Stavrogin – a relentlessly intriguing character in Fyodor Dostoorks of thinkers working within the current of Russian symbolism and “cultural renaissance” from the beginning of the 20th century. The author argues that this “religious” interpretive tradition contributes to one of the greatest misunderstand-ings concerning Dostoyevsky’s work in that it oversimplifies its ambivalence and obscures one of Dostoyevsky’s darkest insights into the human soul, initially revealed in Notes From the Under-ground and from that time on recurring in each of his major novels. In the first part of the article, several classic Russian interpretations of Stavrogin are examined in order to show their common tendency to morally judge Stavrogin from the Orthodox point of view, recognize his greatest sin in the lack of faith in God and for that reason see before him only the perspective of self-disintegration and inevitable death. The author argues that “religious” interpretations do not explain the mystery of Stavrogin. What is more, they homogenize the complexity of his character and offer an all-to-easy solution to the vital philosophical problem which reiterates in Dostoyevsky’s entire mature fiction and which finds its greatest artistic representation in Stavrogin himself
O ironii jako figurze retorycznej i postawie moralnej (z odniesieniem do Wittlina i Kierkegaarda)
Get PDFIn his work as a writer, Józef Wittlin searched for literature able to grant the reader moral support, while at the same time being artistically successful. In his novel Salt of the Earth, the way to com-bine these two, to a certain extent contradictionary aims, is found in the use of irony. An analysis of the classical types of irony appearing in the novel (naive irony, irony of the sender, verbal irony) leads to the conclusion that each of those was remarkably modified by the author. As a result, the “ironical anthropology” created by Wittlin in his novel lacks any elements of simple moralizing or giving ready-made moral solutions, but brings a striking image of a human commu-nity, unified not by a common status, but by a common fate. In the novel, irony turns out to be not only a textual figure, but first and foremost a moral stance, approximate to that of Socrates as described by Kierkegaard. Thanks to this stance, Wittlin enthuses his readers with the longing for the ideal, shaping their moral sensibility, at the same time granting them the sovereignty to which the reader of a literary work should be entitled
Między rozumem a wolą mocy – światopogląd Tomasza Manna w latach pierwszej wojny światowej
Get PDFThe work entitled “Reflections of an Unpolitical Man”, written during World War I, includes an essay against the Western states. Thomas Mann compares democratic countries and the societies created after the French Revolution with the German concept of society and a country based on conservative values. Equality is set against hierarchy, the individual against the community, and a secular perspective against a religious one. Defiance of the West is based on Protestantism. The references to Nietzsche and Schopenhauer, in agreement with Darwin\u27s theory of evolution, are advanced by the West as an argument for the conflict between rationalism and irrationalism. At the end of Thomas Mann’s work, this conflict is solved by the “principle of irony”, which gives the author the opportunity to reconcile himself with the concept of democracy. This also dominated his future work
Językowa materia i sens w poezji Adama Zdrodowskiego
Get PDFPolish poetry of the 1990s was shaped primarily by the works of Andrzej Sosnowski, an author who introduced the New York tradition into our language. The poet Adam Zdrodowski, who debuted in 2005, is often referred to as Sosnowski’s most capable student and it is for this reason that literary criticism fails to accord Sosnowski’s poetry the attention it deserves. In this paper I strive to demonstrate that Zdrodowski is first and foremost a student of John Ashbery; it should be noted that the author of Przygody, etc. reads the New York poetry in a very different way to Sosnowski
Kazimierz Bartoszyński w Poznaniu
Get PDFThe author of this article discusses Kazimierz Bartoszyński’s didactic activity and writings, i.e. his doctoral thesis titled O powieściach Fryderyka Skarbka [On Fryderyk Skarbek’s Novels] (which was published in 1963) and his later articles on the gawęda (i.e. a story stylized as an oral tale) and historical novel (which are collected in the volume titled O polskich prozach powieściowych – słynnych i nieco zapomnianych [On Polish Prose Novels – Those Famous and Slightly Forgotten Ones] (2011)). These writings were a continuation of the studies of the 19th-century novel thathad been conducted in Poznań.The author of this article discusses Kazimierz Bartoszyński’s didactic activity and writings, i.e. his doctoral thesis titled O powieściach Fryderyka Skarbka [On Fryderyk Skarbek’s Novels] (which was published in 1963) and his later articles on the gawęda (i.e. a story stylized as an oral tale) and historical novel (which are collected in the volume titled O polskich prozach powieściowych – słynnych i nieco zapomnianych [On Polish Prose Novels – Those Famous and Slightly Forgotten Ones] (2011)). These writings were a continuation of the studies of the 19th-century novel thathad been conducted in Poznań