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Niedobory neoawangardy: Połamany ludzik Rolanda i Nicolasa Toporów
Full text linkAn article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed.An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed
Teoria amalgamatów w literaturoznawstwie oraz jej zastosowanie na przykładzie powieści gotyckiej Zamczysko w Otranto Horacego Walpole’a
Full text linkThe cognitive information processing system is a key cognitive mechanism that enables both the perception of the world through experience, as well as its creation, among others by creating new mental objects. The literary work is an excellent area of research due to the fact that it contains the implementation and examples of the functioning of the human cognitive apparatus. The article deals in particular with the theory of amalgam as a cognitive system of formulating meanings. The conducted analysis concerns mainly the recognition in a literary work of the types of mental operations taking place in the process of their production. A literary example to be analyzed will be the Gothic novel Castle in Otranto by Horace Walpole
How to Read a Historical Source through a Literary Lens?
Full text linkThe article presents some possibilities of using contemporary literary research methods for analyzing historical sources. However, in the analysis of literary work as a historical source, attempts at “reversed” reading (i.e. source as literature) are still insufficient. The article presents some research tools based on text theory, which could be adapted to reading historical sources. There are privileged texts with some aesthetic features. The above-mentioned methods could not be used directly to analyze historical sources; they should be completed with extra-textual data.The article presents some possibilities of using contemporary literary research methods for analyzing historical sources. However, in the analysis of literary work as a historical source, attempts at “reversed” reading (i.e. source as literature) are still insufficient. The article presents some research tools based on text theory, which could be adapted to reading historical sources. There are privileged texts with some aesthetic features. The above-mentioned methods could not be used directly to analyze historical sources; they should be completed with extra-textual data
W optyce kompleksu emocjonalno-kognitywnego (inspiracje z wystawy „Chopinowi Duda-Gracz”
Full text linkThe article is devoted to the correspondence of arts (painting and music) in connection with the exhibition of various works by Jerzy Duda-Gracz at the Silesian Museum in Katowice. The author addresses the issue of methods for examining the community of various arts, regardless of the methodology assigned to each of them. He reaches for neuroaesthetics and broadly understood hapticity, in the literal and mediated sense, which explains the fact that painters see sounds, musicians see images, and poets see and hear words.The article is devoted to the correspondence of arts (painting and music) in connection with the exhibition of various works by Jerzy Duda-Gracz at the Silesian Museum in Katowice. The author addresses the issue of methods for examining the community of various arts, regardless of the methodology assigned to each of them. He reaches for neuroaesthetics and broadly understood hapticity, in the literal and mediated sense, which explains the fact that painters see sounds, musicians see images, and poets see and hear words
Scaling Imagination: The Language Machine and Poetry
Full text linkThe article focuses on the specificity and functions of metaphors in the poetry of Radosław Jurczak, and more broadly in the work of the youngest poets, for whom life in the world of digital media and the prospect of the development of artificial intelligence is an important part of their formative experience. The paper uses the terms introduced by Mark Fisher for this purpose: the weird and the eerie. The analysis compares poetic devices in Jurczak’s poems with the concept of poetic language of the first avant-garde, pointing out the changes occurring in the poetics and aesthetics of the works, also focusing on figures relating to the technological sphere of modernity. The paper polemizes with the view expressed by Jerzy Jarzębski, who considers the phrase “artificial intelligence” to be a fashionable and harmful oxymoron that defines the pragmatic, reductionist worldview of its users. The article argues that the incorporation of terms that have the status of catachreses and over-lexicalized metaphors in everyday language into the language of poetry allows their creative potential and ambiguity to be recovered. Finally, the paper considers scaling as a characteristic feature of the new poetic imagination, which also requires readers to take a new approach to the language of the new poetry.The article focuses on the specificity and functions of metaphors in the poetry of Radosław Jurczak, and more broadly in the work of the youngest poets, for whom life in the world of digital media and the prospect of the development of artificial intelligence is an important part of their formative experience. The paper uses the terms introduced by Mark Fisher for this purpose: the weird and the eerie. The analysis compares poetic devices in Jurczak’s poems with the concept of poetic language of the first avant-garde, pointing out the changes occurring in the poetics and aesthetics of the works, also focusing on figures relating to the technological sphere of modernity. The paper polemizes with the view expressed by Jerzy Jarzębski, who considers the phrase “artificial intelligence” to be a fashionable and harmful oxymoron that defines the pragmatic, reductionist worldview of its users. The article argues that the incorporation of terms that have the status of catachreses and over-lexicalized metaphors in everyday language into the language of poetry allows their creative potential and ambiguity to be recovered. Finally, the paper considers scaling as a characteristic feature of the new poetic imagination, which also requires readers to take a new approach to the language of the new poetry
Wspomnienie o Jerzym Jarzębskim
No full textOn 25 February 2024, at the age of 76, Prof. Jerzy Jarzębski, an outstanding expert on Polish literature, an excellent literary critic, professor at the Faculty of Polish Studies of the Jagiellonian University, died in Warsaw.On 25 February 2024, at the age of 76, Prof. Jerzy Jarzębski, an outstanding expert on Polish literature, an excellent literary critic, professor at the Faculty of Polish Studies of the Jagiellonian University, died in Warsaw
Alienacja i apokalipsa. Sartre i Gombrowicz
Full text linkThe article discusses intertextual relations between Jean-Paul Sartre and Witold Gombrowicz. It concerns both comments of a discursive character in which the polish writer reconstructs the philosophical project of the French philosopher, as well as artistic fabularizations of philosophical concepts in artistic texts.The article discusses intertextual relations between Jean-Paul Sartre and Witold Gombrowicz. It concerns both comments of a discursive character in which the polish writer reconstructs the philosophical project of the French philosopher, as well as artistic fabularizations of philosophical concepts in artistic texts
"Powiedz mi jeszcze, za co kochasz Chopina…” Stanisława Ignacego Witkiewicza i Witolda Gombrowicza uwagi na temat odbioru muzyki
Full text linkThe purpose of the article “Tell me yet why you love Chopin…” Stanisław Ignacy Witkiewicz’s and Witold Gombrowicz’s remarks on the reception of music is to trace the perception of Chopin’s music literary interpreted in the works of S.I. Witkiewicz and W. Gombrowicz. Both writers presented their opinions not only in theoretical, meta-textual or paraliterary texts, but also put them in the mouths of the heroes of their novels and dramas. Literary fiction is therefore an important point of reference, proving that Witkacy and Gombrowicz’s postulates towards art, as well as the assessment of human existence, were proclaimed consistently, becoming in a way an intertextual doctrine and a superior mission. The thesis that Fryderyk Chopin and his music are an important point of reference for the views presented by Witkacy and Gombrowicz on the most important issues – art and its conditionin a modern society for both writers – may seem risky. On this occasion, it is worth assuming that not only Witkacy is an art theorist, but also Gombrowicz, mainly in “Dzienniki”, lets himself to be known as an analyst of the aesthetic and philosophical order, as well as a careful observer of society, including listeners of Chopin’s works. This time the irony and grotesque present in the analyzed texts are not directed against Chopin’s music, on the contrary, they allow the music of the great romantic to be released, refuting myths and false ideas.The purpose of the article “Tell me yet why you love Chopin…” Stanisław Ignacy Witkiewicz’s and Witold Gombrowicz’s remarks on the reception of music is to trace the perception of Chopin’s music literary interpreted in the works of S.I. Witkiewicz and W. Gombrowicz. Both writers presented their opinions not only in theoretical, meta-textual or paraliterary texts, but also put them in the mouths of the heroes of their novels and dramas. Literary fiction is therefore an important point of reference, proving that Witkacy and Gombrowicz’s postulates towards art, as well as the assessment of human existence, were proclaimed consistently, becoming in a way an intertextual doctrine and a superior mission. The thesis that Fryderyk Chopin and his music are an important point of reference for the views presented by Witkacy and Gombrowicz on the most important issues – art and its conditionin a modern society for both writers – may seem risky. On this occasion, it is worth assuming that not only Witkacy is an art theorist, but also Gombrowicz, mainly in “Dzienniki”, lets himself to be known as an analyst of the aesthetic and philosophical order, as well as a careful observer of society, including listeners of Chopin’s works. This time the irony and grotesque present in the analyzed texts are not directed against Chopin’s music, on the contrary, they allow the music of the great romantic to be released, refuting myths and false ideas