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Bene nati w interpretacji plastycznej Piotra Stachiewicza
Get PDFThe author describes the underappreciated, artistically innovative illustrations that Piotr Stachiewicz created for a jubilee edition of Bene Nati, which had been issued to commemorate the 25th anniversary of Eliza Orzeszkowa’s work as a writer in 1891. The author emphasizes the variety of Stachiewicz’s illustrations which portray the novel’s storyline, dramatic and genre scenes, characters and a winter landscape. These differ in format as well as the way in which they are integrated into the text and in which the images’ borders, which perform an interpretive function, are treated. When a border is interrupted and an illustration encroaches on the space that was intended for text, this means overstepping the boundaries of the fictional world and entering the real world. A reference to Andriolli’s illustrations brings to mind the world that was created in Pan Tadeusz [Sir Thaddeus] and constitutes a form of Aesopian language.The author describes the underappreciated, artistically innovative illustrations that Piotr Stachiewicz created for a jubilee edition of Bene Nati, which had been issued to commemorate the 25th anniversary of Eliza Orzeszkowa’s work as a writer in 1891. The author emphasizes the variety of Stachiewicz’s illustrations which portray the novel’s storyline, dramatic and genre scenes, characters and a winter landscape. These differ in format as well as the way in which they are integrated into the text and in which the images’ borders, which perform an interpretive function, are treated. When a border is interrupted and an illustration encroaches on the space that was intended for text, this means overstepping the boundaries of the fictional world and entering the real world. A reference to Andriolli’s illustrations brings to mind the world that was created in Pan Tadeusz [Sir Thaddeus] and constitutes a form of Aesopian language
Spotkania intertekstualne. O dialogu Hélène Cixous z Jacques’em Derridą
Get PDFWhere else, if not “in a text”, can two bright minds, or two writers, meet? Is it possible for two intellectuals who engage in a dialogue to understand each other without appropriation, i.e. without constantly borrowing from each other and commenting on each other’s ideas? This essay is an attempt at answering these questions by using the unique relation between Hélène Cixous and Jacques Derrida as an example. The friendship between these two is based on efforts to understand each other’s thoughts and writings – but all this is not without respect for each other’s singularity, sovereignty and intimacy.Where else, if not “in a text”, can two bright minds, or two writers, meet? Is it possible for two intellectuals who engage in a dialogue to understand each other without appropriation, i.e. without constantly borrowing from each other and commenting on each other’s ideas? This essay is an attempt at answering these questions by using the unique relation between Hélène Cixous and Jacques Derrida as an example. The friendship between these two is based on efforts to understand each other’s thoughts and writings – but all this is not without respect for each other’s singularity, sovereignty and intimacy
Transgresja i literatura
Get PDFoai:ojs.pressto.amu.edu.pl:article/3186This article analyzes confessions of love from the perspective of communication – it shows the paradoxical character of such confessions and the disparity between this and other models of communication. By referring to the writings of Roland Barthes, Ludwig Wittgenstein, and Jacques Derrida as well as papers dealing with cognitive linguistics and cognitive poetics, the article presents the interpretative consequences of deictic shifts (shifts in textual perspectives).The author of this article attempts to redefine the category of transgression. By preparing a preliminary typology of the existing uses of this concept, he puts forward the hypothesis that, on the one hand, transgression can be identified with (is synonymous with) going beyond the limit of something, and on the other hand, it can be equated with the constant conflict between its empirical and linguistic dimensions as well as its thematization and formalization. The author proposes to define transgression as the act of setting/removing a certain limit. This definition overcomes the above-mentioned difficulties because it not only has an ambiguous aspect (undecidability), i.e. both a positive (construction) and a negative (destruction) dimension, but it also pushes the issues related to transgression into the domain of negotiations, i.e. interactions with the reader (reception, tradition and criticism), from which it derives its inventive potential
Dramatyczne konstruowanie twarzy w wybranych utworach Tadeusza Różewicza
Get PDFThe purpose of this article is to present Tadeusz Różewicz as a poetic portraitist. Faces very often appear in the poet’s works and they play a special role there. The methods that are used to construct them can be grouped into four main categories: 1) a face as a performing subject, 2) a face as an object, 3) a face as a static construct, and finally 4) a face as an element, or metonymy, of human existence and entanglement with reality. In Różewicz’s poetry the human face is material and a mirror, but also a universal symbol of the human condition. These faces are usually distorted, decaying, and blurred. They symbolize the disintegration of the world in which human beings have to live. For Różewicz a face is the most condensed image of humanity and an equivalent of a substance in which every external stimulus leaves its mark. The way of using faces as a material and the process of disintegration that is described in detail constitute a dramatic and performative action which implements the objectives of fluid aesthetics, thus showing the moments of transition from meaning to nothingness and the process of erasing meaning.The purpose of this article is to present Tadeusz Różewicz as a poetic portraitist. Faces very often appear in the poet’s works and they play a special role there. The methods that are used to construct them can be grouped into four main categories: 1) a face as a performing subject, 2) a face as an object, 3) a face as a static construct, and finally 4) a face as an element, or metonymy, of human existence and entanglement with reality. In Różewicz’s poetry the human face is material and a mirror, but also a universal symbol of the human condition. These faces are usually distorted, decaying, and blurred. They symbolize the disintegration of the world in which human beings have to live. For Różewicz a face is the most condensed image of humanity and an equivalent of a substance in which every external stimulus leaves its mark. The way of using faces as a material and the process of disintegration that is described in detail constitute a dramatic and performative action which implements the objectives of fluid aesthetics, thus showing the moments of transition from meaning to nothingness and the process of erasing meaning
Obraz fotograficzny – między archiwum a pozorem. Fotografie w „nożyku profesora” Tadeusza Różewicza
Get PDFThis article explores the issue of postmemory and secondary witnessing as dealt with in Tadeusz Różewicz’s 2002 poem The Professor’s Little Knife. The paper presents two photographs which refer to the problem of the Holocaust’s representation and its limits. The first picture comes from the collection of the U.S. Holocaust Memorial Museum; however, the author concealed its origins and changed its appearance so that it resembled a retro nude photograph. The second one is a raw, non-stylized picture of a knife that belonged to Professor Porębski during imprisonment in Auschwitz-Birkenau concentration camp. By using various interpretation methods, such as the deconstruction of an image or empathic reading, the author of this article examines the limits and consequences of treating a photograph as “spectral evidence”.This article explores the issue of postmemory and secondary witnessing as dealt with in Tadeusz Różewicz’s 2002 poem The Professor’s Little Knife. The paper presents two photographs which refer to the problem of the Holocaust’s representation and its limits. The first picture comes from the collection of the U.S. Holocaust Memorial Museum; however, the author concealed its origins and changed its appearance so that it resembled a retro nude photograph. The second one is a raw, non-stylized picture of a knife that belonged to Professor Porębski during imprisonment in Auschwitz-Birkenau concentration camp. By using various interpretation methods, such as the deconstruction of an image or empathic reading, the author of this article examines the limits and consequences of treating a photograph as “spectral evidence”
Kino Nipponu przełomu cyfrowego
Get PDFThis article is a review of a book written by Mitsuyo Wada Marciano – Japanese Cinema in the Digital Age. The author of this book examines the recent developments in the Japanese film industry at the turning point in the development of digital technologies. The book seeks to overcome the western approach to the subject, reinterprets classic films and explores new trends in transnational Japanese cinema (the term was proposed by the author to explain the situation of Japanese films in the context of Asian countries).This article is a review of a book written by Mitsuyo Wada Marciano – Japanese Cinema in the Digital Age. The author of this book examines the recent developments in the Japanese film industry at the turning point in the development of digital technologies. The book seeks to overcome the western approach to the subject, reinterprets classic films and explores new trends in transnational Japanese cinema (the term was proposed by the author to explain the situation of Japanese films in the context of Asian countries)
Marlboro Man. Studium dla niepalących
Get PDFThe long history of the “Marlboro Country” and “Marlboro Man” advertising campaigns (1954- 1989) represents the renewability of a certain image which was perfectly designed and meticulously thought out. This history constitutes a well-developed “syntagma” which consists of not one but many different, individual versions of a message. What is important is that the administrators and creators of these advertisements succeeded in keeping a semiotic balance between the personal characteristics of a particular model and the image schema which this model was to maintain. Each of these versions sustained the image that had once been created (stability of a cliché) and at the same time featured different representatives of this image and presented them in ever new ways that refreshed the previously achieved expression (dynamics of innovation). This was a multi-stage project which had been planned to “last long”. The “shape” of the Marlboro Man’s model face is a kind of personal testimony to the excellence of the product offered. The representatives of this image kept changing, but its matrix, which made these representatives similar to one another and instantly recognizable as part of a well-known stereotype, turned out to be surprisingly stable and unchanging over several decades.The long history of the “Marlboro Country” and “Marlboro Man” advertising campaigns (1954- 1989) represents the renewability of a certain image which was perfectly designed and meticulously thought out. This history constitutes a well-developed “syntagma” which consists of not one but many different, individual versions of a message. What is important is that the administrators and creators of these advertisements succeeded in keeping a semiotic balance between the personal characteristics of a particular model and the image schema which this model was to maintain. Each of these versions sustained the image that had once been created (stability of a cliché) and at the same time featured different representatives of this image and presented them in ever new ways that refreshed the previously achieved expression (dynamics of innovation). This was a multi-stage project which had been planned to “last long”. The “shape” of the Marlboro Man’s model face is a kind of personal testimony to the excellence of the product offered. The representatives of this image kept changing, but its matrix, which made these representatives similar to one another and instantly recognizable as part of a well-known stereotype, turned out to be surprisingly stable and unchanging over several decades
Autoportret niemożliwy
Get PDFThis sketch deals with Różewicz’s feeling that identity issues are unresolvable. This feeling, which became increasingly strong in the poet’s later works, led him to lose control over poetic form and employ more rhetoric as well as caused his works to be similar to performing arts. A description of the similarities between Różewicz’s cultural ideas and the ones that are present in popular rock music is an important part of this article.This sketch deals with Różewicz’s feeling that identity issues are unresolvable. This feeling, which became increasingly strong in the poet’s later works, led him to lose control over poetic form and employ more rhetoric as well as caused his works to be similar to performing arts. A description of the similarities between Różewicz’s cultural ideas and the ones that are present in popular rock music is an important part of this article
