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Lektura deiktyczna. Rozważania o dyskursie miłości oraz poetyce interpretacji
Get PDFThis 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).This 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)
Wspólna twarz – Różewicz, Rembrandt i starość
Get PDFThis article proposes an interpretation of Rembrandt’s Self-Portrait as Zeuxis Laughing (Wallraf- -Richartz Museum, Cologne) as it appears in Tadeusz Różewicz’s poem Mirror. The 17th-century Dutch artist was known as a painter who portrayed the human body as it really is, i.e. with all its imperfections and changes that are brought about by the passage of time. He has also been regarded as a master who expressed the disappearance and decay of form (Simmel) and the anticipation of death (Malraux) by using an unconventional technique. Różewicz “appropriated” Rembrandt’s face to speak of the inevitability of getting old and dying, the limits of Logos and poetry as well as the powerlessness of a poet whose fatal destiny is to describe and testify to suffering. Rembrandt’s figure appears in a flash of light, but at the same time seems to melt into thick paint, to disappear, like the poet’s words on the surface of silence, thus suggestively representing the moment of the subject’s transformation and crossing the border between life and death, the artist’s withdrawal from the world and last breath as well as the limits of literature, i.e. the loss of discourse. In this poetic epiphany, Rembrandt is – let us refer to Harold Bloom’s famous concept of apophrades – the great dead returning in Różewicz’s work.This article proposes an interpretation of Rembrandt’s Self-Portrait as Zeuxis Laughing (Wallraf- -Richartz Museum, Cologne) as it appears in Tadeusz Różewicz’s poem Mirror. The 17th-century Dutch artist was known as a painter who portrayed the human body as it really is, i.e. with all its imperfections and changes that are brought about by the passage of time. He has also been regarded as a master who expressed the disappearance and decay of form (Simmel) and the anticipation of death (Malraux) by using an unconventional technique. Różewicz “appropriated” Rembrandt’s face to speak of the inevitability of getting old and dying, the limits of Logos and poetry as well as the powerlessness of a poet whose fatal destiny is to describe and testify to suffering. Rembrandt’s figure appears in a flash of light, but at the same time seems to melt into thick paint, to disappear, like the poet’s words on the surface of silence, thus suggestively representing the moment of the subject’s transformation and crossing the border between life and death, the artist’s withdrawal from the world and last breath as well as the limits of literature, i.e. the loss of discourse. In this poetic epiphany, Rembrandt is – let us refer to Harold Bloom’s famous concept of apophrades – the great dead returning in Różewicz’s work
„wymienię wzrok na dotyk”. Poetyka oglądu w twórczości Tadeusza Różewicza
Get PDFThe author poses the question of the importance of a sensory experience in Tadeusz Różewicz’s poetry, including the possibility of the co-existence of and/or replacement of the dominant sense of sight by that of touch. In poetic practice, this change is expressed by the metaphor “touching sight”. Phenomenological analysis allows one to determine the cognitive order in which the perception of an image precedes the perception of a word. The author argues that the understanding of poetry as the philosophy of art requires establishing a list of recalls of images and reconstructing cognitive order (including the subjective experience of space), which together create the “poetics of view”. When interpreted from this perspective, poetry can be treated as testimony to the knowledge of reality.The author poses the question of the importance of a sensory experience in Tadeusz Różewicz’s poetry, including the possibility of the co-existence of and/or replacement of the dominant sense of sight by that of touch. In poetic practice, this change is expressed by the metaphor “touching sight”. Phenomenological analysis allows one to determine the cognitive order in which the perception of an image precedes the perception of a word. The author argues that the understanding of poetry as the philosophy of art requires establishing a list of recalls of images and reconstructing cognitive order (including the subjective experience of space), which together create the “poetics of view”. When interpreted from this perspective, poetry can be treated as testimony to the knowledge of reality
Łydczaność
Get PDFIn Ferdydurke Witold Gombrowicz presented the secret of interpersonal relations by using anatomical metaphors. In this ironic lecture a calf plays as important role as buttocks (stuck to the face) – it is a symbol of seductive youth and, to a considerable degree, of an unaware, but intuitive infantility. This topic is covered in the novel as part of an episode about a fascinating teenage girl Zuta, who is one of most demonic characters in the 20th-century prose. This paper draws attention to the ambiguity of the self-emancipating strategy that Gombrowicz’s hero uses when he discovers this notion and in order to fight against it. A calf, which represents the temptation of modern, sterile and totalitarian sex appeal, refers – as a spiritual, form-shaping power – to the lack of self-confidence that contemporary people conceal, also from themselves. And that is the hidden origin – as Gombrowicz implies – of mass culture’s erotic blackmail.In Ferdydurke Witold Gombrowicz presented the secret of interpersonal relations by using anatomical metaphors. In this ironic lecture a calf plays as important role as buttocks (stuck to the face) – it is a symbol of seductive youth and, to a considerable degree, of an unaware, but intuitive infantility. This topic is covered in the novel as part of an episode about a fascinating teenage girl Zuta, who is one of most demonic characters in the 20th-century prose. This paper draws attention to the ambiguity of the self-emancipating strategy that Gombrowicz’s hero uses when he discovers this notion and in order to fight against it. A calf, which represents the temptation of modern, sterile and totalitarian sex appeal, refers – as a spiritual, form-shaping power – to the lack of self-confidence that contemporary people conceal, also from themselves. And that is the hidden origin – as Gombrowicz implies – of mass culture’s erotic blackmail
Adaptacja jako przekład intersemiotyczny
Get PDFFilm adaptation is carried out by means of montage. This process is based on adjusting the obtained material and piecing together fragments which will be used once again and which an adapter has taken from the original work. It is montage, i.e. a selection and combination of moving pictures, which constitutes a new textual whole which is equivalent to the prototype, that forms a semiotic basis for and the essence of the adaptation process. The term “translation” can only be used in reference to film adaptation when we do not deal with full identicalness, but rather with functional similarity which does not allow one to fully equate a linguistic translation with screen adaptation.Film adaptation is carried out by means of montage. This process is based on adjusting the obtained material and piecing together fragments which will be used once again and which an adapter has taken from the original work. It is montage, i.e. a selection and combination of moving pictures, which constitutes a new textual whole which is equivalent to the prototype, that forms a semiotic basis for and the essence of the adaptation process. The term “translation” can only be used in reference to film adaptation when we do not deal with full identicalness, but rather with functional similarity which does not allow one to fully equate a linguistic translation with screen adaptation
Erotyka pieniądza
Get PDFMoney, which is a phenomenon of the economic system, can be perceived from the perspective of eroticism, which is a phenomenon that is embedded in the interpersonal system. Eroticism is based on a drive and it means some particular attraction or inclination to someone. The following questions arise then: What kind of attraction is it? How should this inclination be understood? Eroticism entails the convergence of desire and a promise, which can only be captured from the perspective of cultural studies, i.e. by situating money in a cultural system. The eroticism of money is an attractive topic as its meaning goes beyond the boundaries of a system and society, which is why also those who are not competent in the field of economics can take a stance with regard to this matter. The cultural aspect of money has been discussed occasionally so far. As for cultural studies, the analysis of money mostly entails two approaches: historical and critical. This is because one should analyze the issue of money from the historical perspective while keeping a critical distance and not being afraid of making evaluations.Money, which is a phenomenon of the economic system, can be perceived from the perspective of eroticism, which is a phenomenon that is embedded in the interpersonal system. Eroticism is based on a drive and it means some particular attraction or inclination to someone. The following questions arise then: What kind of attraction is it? How should this inclination be understood? Eroticism entails the convergence of desire and a promise, which can only be captured from the perspective of cultural studies, i.e. by situating money in a cultural system. The eroticism of money is an attractive topic as its meaning goes beyond the boundaries of a system and society, which is why also those who are not competent in the field of economics can take a stance with regard to this matter. The cultural aspect of money has been discussed occasionally so far. As for cultural studies, the analysis of money mostly entails two approaches: historical and critical. This is because one should analyze the issue of money from the historical perspective while keeping a critical distance and not being afraid of making evaluations
Hirsch o interpretacji. Analiza krytyczna
Get PDFThe main aim of the article is to reconstruct and critique E.D. Hirsch’s position in the debate about the necessary conditions and results of any interpretation. The author of this article seeks to demonstrate the difficulties connected with the intentionalist approach to the theory of interpretation which is typical of E.D. Hirsch and which unjustifiably privileges authorial intention. He also attempts to uncover the hidden assumptions of this approach by showing that, generally speaking, the dualist tendencies that are present in Hirsch’s theory cannot be justified. One of the objectives of this article is to propose an alternative approach to interpretation, which has been inspired by Stanley Fish and which emphasizes the integrity and monistic nature of interpretation as well as its constructivist and inevitably evaluative character. The author points to the fact that the arbitrarily established evaluation limits are unjustified as there is an element of evaluation on every level of interpretation and that the difference between understanding and interpretation cannot be validated. Also, one cannot interpret a text without each time referring to the social and cultural context.The main aim of the article is to reconstruct and critique E.D. Hirsch’s position in the debate about the necessary conditions and results of any interpretation. The author of this article seeks to demonstrate the difficulties connected with the intentionalist approach to the theory of interpretation which is typical of E.D. Hirsch and which unjustifiably privileges authorial intention. He also attempts to uncover the hidden assumptions of this approach by showing that, generally speaking, the dualist tendencies that are present in Hirsch’s theory cannot be justified. One of the objectives of this article is to propose an alternative approach to interpretation, which has been inspired by Stanley Fish and which emphasizes the integrity and monistic nature of interpretation as well as its constructivist and inevitably evaluative character. The author points to the fact that the arbitrarily established evaluation limits are unjustified as there is an element of evaluation on every level of interpretation and that the difference between understanding and interpretation cannot be validated. Also, one cannot interpret a text without each time referring to the social and cultural context
Poezja konkretna w trzech obszarach językowych
Get PDFThis paper analyzes different paths of the development of both the movement and the notion of concrete poetry in three linguistic regions. The German-language konkrete Dichtung turns out to usually denote the original, historical shape of the movement, which was partly created in German- speaking countries and which has been treated as a literary phenomenon. The Englishlanguage term concrete poetry is a much broader category which also encompasses visual poetry and avant-garde texts that are distant from the sources of concretism in its early form. The Polish understanding of ‘poezja konkretna’ [concrete poetry] was influenced by both German- and English- language books and by the movement’s regional version, which appeared in Poland as late as in the 1970s. The selected linguistic areas allowed the author to show three basic ways of thinking about concretism, i.e. about its initial, international, and regional versions.This paper analyzes different paths of the development of both the movement and the notion of concrete poetry in three linguistic regions. The German-language konkrete Dichtung turns out to usually denote the original, historical shape of the movement, which was partly created in German- speaking countries and which has been treated as a literary phenomenon. The Englishlanguage term concrete poetry is a much broader category which also encompasses visual poetry and avant-garde texts that are distant from the sources of concretism in its early form. The Polish understanding of ‘poezja konkretna’ [concrete poetry] was influenced by both German- and English- language books and by the movement’s regional version, which appeared in Poland as late as in the 1970s. The selected linguistic areas allowed the author to show three basic ways of thinking about concretism, i.e. about its initial, international, and regional versions
„Wielka bitwa paryska”. O pierwszym francuskim wydaniu „Ferdydurke”
Get PDFThis article presents the story of the first French edition of Witold Gombrowicz’s Ferdydurke. The novel was published in October 1958 by the Julliard publishing house. The article is based on letters that Gombrowicz exchanged with Constantin Jelenski, a Polish essayist living in Paris and a great promoter of his work, as well as on Gombrowicz’s publishing-related correspondence with Maurice Nadeau, René Julliard and Pierre Javet. The article shows that Gombrowicz was a writer who paid great attention not only to the form of his works, but also to the way in which they reached the reader. Therefore, he attempted to influence, as much as possible, the manner in which his books would be published. He sought to establish a new way of presenting the writer to the reader that would fall outside the rules and conventions of world literature. The article shows why he succeeded in Poland and Argentina, but not in France, where he did not have followers.This article presents the story of the first French edition of Witold Gombrowicz’s Ferdydurke. The novel was published in October 1958 by the Julliard publishing house. The article is based on letters that Gombrowicz exchanged with Constantin Jelenski, a Polish essayist living in Paris and a great promoter of his work, as well as on Gombrowicz’s publishing-related correspondence with Maurice Nadeau, René Julliard and Pierre Javet. The article shows that Gombrowicz was a writer who paid great attention not only to the form of his works, but also to the way in which they reached the reader. Therefore, he attempted to influence, as much as possible, the manner in which his books would be published. He sought to establish a new way of presenting the writer to the reader that would fall outside the rules and conventions of world literature. The article shows why he succeeded in Poland and Argentina, but not in France, where he did not have followers
O interpretacji
Get PDFThe article entitled “On interpretation” is an attempt to formulate a viewpoint on the issue of textual interpretation. It presents different ideas related to interpretation, including especially those that are concerned with a text’s meaning and with the way in which it is interpreted by the reader. The author proposes another interpretation method which he calls transactional. The primary concern is how to possibly justify the fundamental character of interpretation and interpretative activity while at the same time preserving and respecting the relative autonomy of an interpreted text.The article entitled “On interpretation” is an attempt to formulate a viewpoint on the issue of textual interpretation. It presents different ideas related to interpretation, including especially those that are concerned with a text’s meaning and with the way in which it is interpreted by the reader. The author proposes another interpretation method which he calls transactional. The primary concern is how to possibly justify the fundamental character of interpretation and interpretative activity while at the same time preserving and respecting the relative autonomy of an interpreted text