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Poetic Performativity
Full text linkThe author examines the performative status of a poetic work. Following T. Różewicz, he points to non-textual and potential forms of poetry’s existence. As a counterbalance to excessive adherence to textocentrism, he proposes functionalizing the tools of the new humanities (R. Nycz) and the theory of affect (B. Massumi) in the analysis of the creative act. The author indicates ways of studying the poetic experience with reference to the performative actor model (W. Baluch). Demonstrated voice recordings of poetic performances in the context of Dramatic Theory of Literature (A. Krajewska) are examples of gaining special insight into experience and dramatic self-discovery.The author examines the performative status of a poetic work. Following T. Różewicz, he points to non-textual and potential forms of poetry’s existence. As a counterbalance to excessive adherence to textocentrism, he proposes functionalizing the tools of the new humanities (R. Nycz) and the theory of affect (B. Massumi) in the analysis of the creative act. The author indicates ways of studying the poetic experience with reference to the performative actor model (W. Baluch). Demonstrated voice recordings of poetic performances in the context of Dramatic Theory of Literature (A. Krajewska) are examples of gaining special insight into experience and dramatic self-discovery.
 
Feature Film as a Literary Work
Full text linkThe relationships between feature film and literature are typically conceptualized from the perspective of film adaptations. Although numerous shared points between them are noticeable, typically feature films are not treated as literary works tout court.The paper focuses on the difference between the medium and literature, which allows us to look at any feature film as literature in the film medium. “Empirical media studies” (U. Saxer, W. Faulstich) provides the methodological foundation for the paper, and three representative examples are discussed. The first two are extremely different from each other: a feature film preceding a novel (Alien by R. Scott and Alien by A.D. Foster), and the opposite variant, i.e. a feature film based on a novel in the book medium (Barry Lyndon by S. Kubrick and The Memoirs of Barry Lyndon by W.M. Thackeray). The third example (Love Story by A. Hiller and Love Story by E. Segal) is intermediate: the feature film and the novel were released at the same time (Segal wrote the novel based on his ownscenario during the production of the film). The examples analyzed, together with theoretical considerations, show that it is not the so-called “language of film” that makes a film a work of art, but its “literary-logical continuum” (Faulstich), which supports the thesis that all literature is mediated, and that traditional considerations regarding film adaptation should include the issue of literary media to a greater extent.The relationships between feature film and literature are typically conceptualized from the perspective of film adaptations. Although numerous shared points between them are noticeable, typically feature films are not treated as literary works tout court.The paper focuses on the difference between the medium and literature, which allows us to look at any feature film as literature in the film medium. “Empirical media studies” (U. Saxer, W. Faulstich) provides the methodological foundation for the paper, and three representative examples are discussed. The first two are extremely different from each other: a feature film preceding a novel (Alien by R. Scott and Alien by A.D. Foster), and the opposite variant, i.e. a feature film based on a novel in the book medium (Barry Lyndon by S. Kubrick and The Memoirs of Barry Lyndon by W.M. Thackeray). The third example (Love Story by A. Hiller and Love Story by E. Segal) is intermediate: the feature film and the novel were released at the same time (Segal wrote the novel based on his ownscenario during the production of the film). The examples analyzed, together with theoretical considerations, show that it is not the so-called “language of film” that makes a film a work of art, but its “literary-logical continuum” (Faulstich), which supports the thesis that all literature is mediated, and that traditional considerations regarding film adaptation should include the issue of literary media to a greater extent
„Do Tadeusza Estreichera”. Kolor niebieski w procesie twórczym Stanisława Wyspiańskiego
Full text linkThis paper undertakes an analysis of a rhymed letter by Stanisław Wyspiański sent in December 1904 to Tadeusz Estreicher, taking into account the perspective of ‘visual thinking’, proposed by Rudolf Arnheim in his book Visual Thinking, and the category of ‘colour’. The text emphasizes the role of the particular colour particular colour – blue, which had a special significance in the creative process of the painter and poet. Blue accompanied Wyspiański in his letters, dramas, poetry, and eventually also in the interior of his studio on Krowoderska Street. Everywhere (including in his poetic letter to Estreicher), it played a unique role – it allowed him to express the need to surround himself with the most airy colour and to immerse himself in the ‘blue atmosphere of freedom’.This paper undertakes an analysis of a rhymed letter by Stanisław Wyspiański sent in December 1904 to Tadeusz Estreicher, taking into account the perspective of ‘visual thinking’, proposed by Rudolf Arnheim in his book Visual Thinking, and the category of ‘colour’. The text emphasizes the role of the particular colour particular colour – blue, which had a special significance in the creative process of the painter and poet. Blue accompanied Wyspiański in his letters, dramas, poetry, and eventually also in the interior of his studio on Krowoderska Street. Everywhere (including in his poetic letter to Estreicher), it played a unique role – it allowed him to express the need to surround himself with the most airy colour and to immerse himself in the ‘blue atmosphere of freedom’
Od niesprawiedliwości społecznej po sprawiedliwość epistemiczną – polski dramat posttraumatyczny
Full text linkThe article unfolds the history of Polish drama from the traumatic moment of transition that began in Poland in 1989 to the present. The methodological framework of the argument is set by the concepts of post-traumatic growth and epistemic injustice. The first concept allows at the beginning of the article to look at the gap between the aesthetics of the dramas of the 1990s and the difficult experience of the Poles of the ongoing political transition. Epistemic injustice, on the other hand, which consists in the lack of a language to describe one’s own experience by less privileged groups, is a point of reference for the latest achievements of drama, which, through the inclusion of a wider range of co-creators in the creative process, develops languages that allow us to address issues that we have not had access to before. The whole history of overcoming the traumatic exclusions experienced by Polish society since the transition has been shown on the example of selected dramatic works, which, finding at the beginning of the 21st century a language adequate to express the experiences of the people of that time, in the long run, increasingly broadens its horizon, thanks to the development of new drama
Literatura i technologia. Gry z tekstem / gry o tekst
Full text linkThe article characterizes literary practices emerging in recent decades, under the influence of new technologies. Within contemporary adaptation practices, we are dealing with peculiar “text games” that aim to test the stylistic and genre strength of known literary works: leading to the creation of their new technological formats and designing new genre varieties (gamebooks, literary works, or works written by artificial intelligence). In addition to creating a new aesthetic and formal landscape, they provoke reflection on contemporary literary practices and research strategies that can be used to describe them
Nieustraszeni pogromcy wampirów Romana Polańskiego wobec literackich i filmowych antenatów w kontekście koncepcji estetycznych Romana Ingardena
Full text linkThe aim of the article is to analyze the correlation between Roman Polański’s The Fearless Vampire Killers and literary and film representations of the vampire. Reminiscences of classic works related to the undead, such as Lenora by Gottfried August Bürger, The Vampyre by John Polidori or Dracula by Bram Stoker, as well as cinematic works Dracula by Tod Browning, horror films by Hammer are noticeable in the image. The article attempts to analyze these literary and film threads, using the aesthetic concepts of Roman Ingarden. The categories used in the analysis of the literary-film border of The Fearless Vampire Killers concern: multi-layered structure, underdetermined places, concretization and metaphysical qualities
Szok nieporównywalnego? Szkic z krytyki (muzykologicznego) przekładu
Full text linkThe paper addresses the problems of potentials and limitations of translation criticism and recalls several dominant strategies in contemporary translation studies. Starting from the dispute between the Polish translator of Scruton’s The Aesthetics of Music and its reviewers published in the journal Music (2024/3) the author of the text conducts an argument on the differences between unreflective translation and conscious and committed interpretation, touching on the issue of the translator’s responsibility for his work. The author compares the translator to the performer of a musical piece, who, when going on stage, runs the risk of misrepresenting the meaning of the score and every accidentally played false sound. The article also includes an analysis of the charges leveled against the translator by reviewers and attempts to polemicize both the translator’s and his critics’ arguments
McLuhana koncepcja kultury współczesnej
Full text linkThis article attempts to reconstruct Marshall McLuhan’s research practice in terms of offering a working definition of the universal determinants of the concept of contemporary culture
Wytwarzanie energii poetyckiej. Casus Ut pictura poesis Witolda Wirpszy
Full text linkThe article proposes an interpretation of an unpublished poem by Witold Wirpsza, Ut pictura poesis, discovered in the Archives of the Academy of Fine Arts in Berlin. Analysis of the poem makes it possible to distinguish two basic thematic lines in its structure: philosophical-logical (due to references to L. Wittgenstein’s Tractatus Logico-Philosophicus) and comparative-aesthetic (due to the presence of the title topos ut pictura poesis and ironic ekphrasis of the sculptures of A. Rodin). The reflection on “the production of poetic energy” present in the poem is interpreted in light of Wirpsza’s essays on energy and cybernetics, his unpublished diaries and his reception of T. Peiper’s theory of poetry, especially the diary notes from 1981. Written most likely in the late period, the poem “Ut pictura poesis” may appear as a kind of artistic summary of several important themes in Wirpsza’s poetry
Co wynika z Peiperowskiego projektowania „uścisku z teraźniejszo ścią” (refleksje historyka dwudziestowiecznej awangardy, z małym wychyleniem w stronę XXI wieku)
Full text linkThe article discusses the evolution of the avant-garde, determining the emergence of important differences between the historical avant-garde of the 1920s and the attitudes of the post-avant-garde and neo-avant-garde – from the 1970s of the twentieth century to the first decades of the twenty-first. At the same time, it answers the question of where the logic of the avant-gardes would find its axioms. Post-avant-garde poetry undoubtedly pursues the avant-garde postulate of approximation to the social reality of everyday life, but fundamentally understands this postulate differently. Consequently, it fulfills what the historical avant-garde did not: opening the boundaries of poetry as a result of questioning the autotelicity and autonomy of poetry, redefining reality-in-the-present as that, historically, locally, politically conditioned. Not infrequently, this forces a critical gesture against social reality and the associated rules of social communication. To an even greater extent, this opening was determined by the conviction that this reality is not available in unmediated experience, that poetic critical discourse must be based on “interceptions” of social narratives, more or less petrified, leading to the recognition that everything belongs to reality, regardless of ontological status. It points out that countercultural movements have had a significant impact on the direction of this evolution.The article discusses the evolution of the avant-garde, determining the emergence of important differences between the historical avant-garde of the 1920s and the attitudes of the post-avant-garde and neo-avant-garde – from the 1970s of the twentieth century to the first decades of the twenty-first. At the same time, it answers the question of where the logic of the avant-gardes would find its axioms. Post-avant-garde poetry undoubtedly pursues the avant-garde postulate of approximation to the social reality of everyday life, but fundamentally understands this postulate differently. Consequently, it fulfills what the historical avant-garde did not: opening the boundaries of poetry as a result of questioning the autotelicity and autonomy of poetry, redefining reality-in-the-present as that, historically, locally, politically conditioned. Not infrequently, this forces a critical gesture against social reality and the associated rules of social communication. To an even greater extent, this opening was determined by the conviction that this reality is not available in unmediated experience, that poetic critical discourse must be based on “interceptions” of social narratives, more or less petrified, leading to the recognition that everything belongs to reality, regardless of ontological status. It points out that countercultural movements have had a significant impact on the direction of this evolution