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Libretto jako (u)twór. Zagadnienia genologiczne i metodologiczne – zarys problematyki
Get PDFThis article deals with issues connected with defining the libretto in the light of genre classification and the function that libretti perform as part of musical compositions. Libretti, which are marginalized by both literary theory and musicological research, are considered to be dependent texts even though most libretti are compositionally complete and can be analyzed by using the concepts of literary theory. At the same time, although the libretto is not an independent genre, it has its own subgenres which are identified based on the subject matter, function and structural properties (e.g. tragedy, comedy and farce).This article deals with issues connected with defining the libretto in the light of genre classification and the function that libretti perform as part of musical compositions. Libretti, which are marginalized by both literary theory and musicological research, are considered to be dependent texts even though most libretti are compositionally complete and can be analyzed by using the concepts of literary theory. At the same time, although the libretto is not an independent genre, it has its own subgenres which are identified based on the subject matter, function and structural properties (e.g. tragedy, comedy and farce)
„Francis Bacon czyli Diego Velázquez na fotelu dentystycznym” – malarskie i inne cytaty jako „dodatek” do rozpraszającego się życia
Get PDFThe mature poetry of Tadeusz Różewicz seems to be at odds with both modernist and postmodern literary tenets. It undeniably makes abundant use of intertextuality (including self-quotations), but in spite of this [post]modernist tendency it does resist self-referential impersonality. Różewicz again immerses allusions to images, texts and other artifacts – which, according to formalist and structuralist interpretations, should disengage themselves from an artist’s biography in order to achieve aesthetic autonomy – in the current of life, devoid of an innate sense and always identical to itself. In fact, life cannot be apprehended by art, and precisely, Różewicz tries to thematize this impossibility by producing texts or rather poetical acts that could be classified as self-effacing artifacts. He even succeeded in discrediting the modernist epiphany (which has a double status, i.e. as a poetical device and a window on the transcendent) by replacing it with loquacious anticlimaxes. The fragmentary, disintegrating form of his later poetry (the long poem “Francis Bacon or Diego Velázquez in a dentist’s chair” is a perfect – or rather consciously imperfect – implementation of this form) does not pretend to be a representation of a human being’s disintegrating existence. This poetry is, above all, an existential act, or – in other words – a performance, and not a self-sufficient work of art.The mature poetry of Tadeusz Różewicz seems to be at odds with both modernist and postmodern literary tenets. It undeniably makes abundant use of intertextuality (including self-quotations), but in spite of this [post]modernist tendency it does resist self-referential impersonality. Różewicz again immerses allusions to images, texts and other artifacts – which, according to formalist and structuralist interpretations, should disengage themselves from an artist’s biography in order to achieve aesthetic autonomy – in the current of life, devoid of an innate sense and always identical to itself. In fact, life cannot be apprehended by art, and precisely, Różewicz tries to thematize this impossibility by producing texts or rather poetical acts that could be classified as self-effacing artifacts. He even succeeded in discrediting the modernist epiphany (which has a double status, i.e. as a poetical device and a window on the transcendent) by replacing it with loquacious anticlimaxes. The fragmentary, disintegrating form of his later poetry (the long poem “Francis Bacon or Diego Velázquez in a dentist’s chair” is a perfect – or rather consciously imperfect – implementation of this form) does not pretend to be a representation of a human being’s disintegrating existence. This poetry is, above all, an existential act, or – in other words – a performance, and not a self-sufficient work of art
Performatyka – teoria katastrof?
Get PDFThe author of Performatyka – teoria katastrof? [“Performance studies – the theory of catastrophes?”], which is a cross-sectional investigation into performance studies, tracks the trains of thought about catastrophes in different theories of performativity, ranging from J. L. Austin’s to Jon McKenzie’s ideas. Of particular interest is how particular theoreticians integrate the term ‘catastrophe’ into their conceptual frameworks and how they evaluate it. By criticizing the approach taken by Judith Butler, who postulates “melancholic performance studies”, which brings to mind Adorno’s idea that is explicated in Minima Moralia (traurige Wissenschaft), the author tries to show how we can productively use Austin’s theses that are presented in the first chapters of his famous How to Do Things with Words. In the author’s opinion, Austin allows us to approach communicational catastrophes from a different perspective, which is often forgotten, i.e. of the functioning of contextual systems. It is shown that the tension between felicity and infelicity may be at the core of the popularity of performativity which is understood as a tool for researching contemporary cultural phenomena.The author of Performatyka – teoria katastrof? [“Performance studies – the theory of catastrophes?”], which is a cross-sectional investigation into performance studies, tracks the trains of thought about catastrophes in different theories of performativity, ranging from J. L. Austin’s to Jon McKenzie’s ideas. Of particular interest is how particular theoreticians integrate the term ‘catastrophe’ into their conceptual frameworks and how they evaluate it. By criticizing the approach taken by Judith Butler, who postulates “melancholic performance studies”, which brings to mind Adorno’s idea that is explicated in Minima Moralia (traurige Wissenschaft), the author tries to show how we can productively use Austin’s theses that are presented in the first chapters of his famous How to Do Things with Words. In the author’s opinion, Austin allows us to approach communicational catastrophes from a different perspective, which is often forgotten, i.e. of the functioning of contextual systems. It is shown that the tension between felicity and infelicity may be at the core of the popularity of performativity which is understood as a tool for researching contemporary cultural phenomena
Hermeneutyczne rozumienie W-cielenia i Eucharystii: „Tenebrae” Paula Celana i interpretacyjny charakter kom-unii poprzez ciało, krew i obraz
Get PDFCarnal hermeneutics shows that pre-thematic bodily hermeneutics can complement cognitive hermeneutics. The thematization of sacramental imagination is an essential part of such an approach. Carnal hermeneutics finds new ways of showing how imagination inhabits our bodies and reflects on the emancipatory possibilities that are hidden in the process of maintaining and crossing the various boundaries that constitute our identity. Carnal reading is both reception and creation, i.e., it is not a reading into something but a reading from something. The act of interpreting Paul Celan’s Tenebrae is an exercise in a diacritical hermeneutics of communion and prayer, which contributes to the self-awakening of existence by elucidating the fundamental structures of our understanding of being.Carnal hermeneutics shows that pre-thematic bodily hermeneutics can complement cognitive hermeneutics. The thematization of sacramental imagination is an essential part of such an approach. Carnal hermeneutics finds new ways of showing how imagination inhabits our bodies and reflects on the emancipatory possibilities that are hidden in the process of maintaining and crossing the various boundaries that constitute our identity. Carnal reading is both reception and creation, i.e., it is not a reading into something but a reading from something. The act of interpreting Paul Celan’s Tenebrae is an exercise in a diacritical hermeneutics of communion and prayer, which contributes to the self-awakening of existence by elucidating the fundamental structures of our understanding of being
Ikonoklazm odwrócony. Tadeusz Różewicz w poszukiwaniu form „wewnętrznego obrazu”
Get PDFTadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness.Tadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness
W labiryntach czasu i wieczności. O Lśnieniu Stanleya Kubricka
Get PDFIn the interview which appeared after the premiere of The Shining, Kubrick said that the fantastic qualities of reality in his movies are “treated in a very […] ordinary way”. He indicated that uncanny events are also depicted in this way in Jorge Luis Borges’ writings. The comparison made by Kubrick should not be disregarded since the labyrinth motif, which does not appear in Stephen King’s book that has been adapted for the screen, is an important theme in Borges’ works as well as in The Shining. The Garden of Forking Paths, which was also written by this Argentinian writer, not only explores the above-mentioned motif, but also describes the conception of time which can be found in The Shining and in the last scene of Kubrick’s 2001: A Space Odyssey. Borges’ literary works might be helpful in comprehending Kubrick’s notion of the fourth dimension. The coexistence of different times in The Shining, in turn, refers to the theological idea of eternity. This conception corresponds to the main character’s nature – especially his desires, aspirations and anxieties. The established perspective provides an opportunity to exemplify what Kubrick meant by showing the fantastic qualities of reality “in a simple, non-baroque style”.In the interview which appeared after the premiere of The Shining, Kubrick said that the fantastic qualities of reality in his movies are “treated in a very […] ordinary way”. He indicated that uncanny events are also depicted in this way in Jorge Luis Borges’ writings. The comparison made by Kubrick should not be disregarded since the labyrinth motif, which does not appear in Stephen King’s book that has been adapted for the screen, is an important theme in Borges’ works as well as in The Shining. The Garden of Forking Paths, which was also written by this Argentinian writer, not only explores the above-mentioned motif, but also describes the conception of time which can be found in The Shining and in the last scene of Kubrick’s 2001: A Space Odyssey. Borges’ literary works might be helpful in comprehending Kubrick’s notion of the fourth dimension. The coexistence of different times in The Shining, in turn, refers to the theological idea of eternity. This conception corresponds to the main character’s nature – especially his desires, aspirations and anxieties. The established perspective provides an opportunity to exemplify what Kubrick meant by showing the fantastic qualities of reality “in a simple, non-baroque style”
Poza śmierć, ku Niemożliwemu. Kiriłłow vs. Nietzsche
Get PDFThe aim of this paper is to critically analyze and evaluate the commonly held belief in philosophy and literary studies that suicidal Kirillov – a relentlessly intriguing character featured in Dostoevsky’s The Devils – voices and embodies the same ideas that were later to become characteristic of Friedrich Nietzsche’s thought. This analysis begins with a critical reading of Boris Evlampiev’s essay: Dostoevsky and Nietzsche: Toward a New Metaphysics of Man. Evlampiev’s presents Kirillov as an individual who showed the way to the full affirmation of earthly life, much earlier than Nietzsche’s Zarathustra, without resorting to religious faith or visions of paradise and salvation in the afterlife. The author of this article presents arguments against the view that Kirillov is the forerunner of Zarathustra. As this staged confrontation between Kirillov and Nietzsche/ Zarathustra unfolds and Kirillov’s would-be “Nietzschean” conduct and ideology are reviewed, numerous problems and doubts arise. As the analysis of Nietzsche’s and Kirillov’s approaches to the issue of death and the transience of human existence progresses, it reveals contradictions in Nietzsche’s thought which show that there is a need to re-evaluate Kirillov’s character. Eventually, the author reaches the conclusion that Kirillov’s dilemmas are much closer to those of Nietzsche than one would initially think.The aim of this paper is to critically analyze and evaluate the commonly held belief in philosophy and literary studies that suicidal Kirillov – a relentlessly intriguing character featured in Dostoevsky’s The Devils – voices and embodies the same ideas that were later to become characteristic of Friedrich Nietzsche’s thought. This analysis begins with a critical reading of Boris Evlampiev’s essay: Dostoevsky and Nietzsche: Toward a New Metaphysics of Man. Evlampiev’s presents Kirillov as an individual who showed the way to the full affirmation of earthly life, much earlier than Nietzsche’s Zarathustra, without resorting to religious faith or visions of paradise and salvation in the afterlife. The author of this article presents arguments against the view that Kirillov is the forerunner of Zarathustra. As this staged confrontation between Kirillov and Nietzsche/ Zarathustra unfolds and Kirillov’s would-be “Nietzschean” conduct and ideology are reviewed, numerous problems and doubts arise. As the analysis of Nietzsche’s and Kirillov’s approaches to the issue of death and the transience of human existence progresses, it reveals contradictions in Nietzsche’s thought which show that there is a need to re-evaluate Kirillov’s character. Eventually, the author reaches the conclusion that Kirillov’s dilemmas are much closer to those of Nietzsche than one would initially think
Autor: empiryczny, modelowy czy wirtualny?
Get PDFThe article titled Autor: empiryczny, modelowy czy wirtualny? [“An empirical, model, or virtual author?”] presents a discussion about the terms used in the title which was held by the article’s authors. P. Bohuszewicz defends the validity of the concepts of an empirical and a virtual author, the latter being the result of “rewriting” Umberto Eco’s idea of a model author. T. Szymon Markiewka claims that the concept of a model author and that of a virtual author are unnecessary multiplications of theoretical entities: we only need the concept of an empirical author, but we also need to remember about all the complications related to this concept.The article titled Autor: empiryczny, modelowy czy wirtualny? [“An empirical, model, or virtual author?”] presents a discussion about the terms used in the title which was held by the article’s authors. P. Bohuszewicz defends the validity of the concepts of an empirical and a virtual author, the latter being the result of “rewriting” Umberto Eco’s idea of a model author. T. Szymon Markiewka claims that the concept of a model author and that of a virtual author are unnecessary multiplications of theoretical entities: we only need the concept of an empirical author, but we also need to remember about all the complications related to this concept
Herbert w hermeneutycznej sieci
Get PDFThe author of this article discusses several books that were written by Artur Grabowski, a Cracow poet, critic and researcher who is an expert in the theory of poetry, theater, drama and contemporary art, by focusing on his latest book Herbert-Hermes. Konteksty nowoczesności w esejach, dramatach i wierszach Zbigniewa Herberta [Herbert-Hermes: The Contexts of Modernity in Zbigniew Herbert’s Essays, Dramas and Poems] (The Jagiellonian University Press, Cracow 2013). This book represents an original attempt at situating Herbert’s essays, selected poems and a drama (Jaskinia filozofów [The Cave of Philosophers]) in the context of interpretive, hermeneutic practice which is treated quite loosely, and it has been highly favorably reviewed. The author of the present article draws attention to the erudition and inventiveness of Artur Grabowski, who has managed to start a new thread of research on Herbert’s work, but she also challenges ideas presented in certain passages of the book.The author of this article discusses several books that were written by Artur Grabowski, a Cracow poet, critic and researcher who is an expert in the theory of poetry, theater, drama and contemporary art, by focusing on his latest book Herbert-Hermes. Konteksty nowoczesności w esejach, dramatach i wierszach Zbigniewa Herberta [Herbert-Hermes: The Contexts of Modernity in Zbigniew Herbert’s Essays, Dramas and Poems] (The Jagiellonian University Press, Cracow 2013). This book represents an original attempt at situating Herbert’s essays, selected poems and a drama (Jaskinia filozofów [The Cave of Philosophers]) in the context of interpretive, hermeneutic practice which is treated quite loosely, and it has been highly favorably reviewed. The author of the present article draws attention to the erudition and inventiveness of Artur Grabowski, who has managed to start a new thread of research on Herbert’s work, but she also challenges ideas presented in certain passages of the book