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Łęgi – próby rekultywacji. Wokół poetycko-wizualnych praktyk Bianki Rolando
Full text linkThis article is devoted to Bianka Rolando’s book of poetry titled Łęgi (2015), which is part of a multi-element art project of the same title presented at the Leto Gallery in Warsaw (in 2015). The hermetic volume by one of the most uncompromising contemporary avant-garde poets was set in the scenery of Poznań’s Łęgi Dębińskie and their disowned – mainly violent – history; however, the specificity of the project lies in the fact that, referring to particular places and events, the author avoids explicitly referential or interventionist descriptions and narratives; instead, she performs multi-story metaphorical transformations, paradoxically conducive to developing a vision of autonomous and active nature. What emerges from the poems is a record of a private cleansing, apotropaic ritual that the poet performs in the territory of flood-meadows (it was documented in the photos included in the book and in the exhibition), aiming, on the one hand, to come to terms with (personal and collective) loss, but also to undo the finality of death; and on the other hand, to disenchant the place (according to Sylvia Federici’s proposed understanding of this category). All these activities serve to reclaim the flood-meadow in the broadest sense – its material dimension as well as its energy and a relationship with it. The proposal formulated in this article to read the volume from an ecocritical perspective draws attention to the role of non-referential approaches to nature that liberate it from anthroponormative representations (which corresponds to the metapoetic postulates of Rolando advocating the idea of anti-illustration), but also fosters the inclusion of post-secular categories in non-anthropocentric studies.This article is devoted to Bianka Rolando’s book of poetry titled Łęgi (2015), which is part of a multi-element art project of the same title presented at the Leto Gallery in Warsaw (in 2015). The hermetic volume by one of the most uncompromising contemporary avant-garde poets was set in the scenery of Poznań’s Łęgi Dębińskie and their disowned – mainly violent – history; however, the specificity of the project lies in the fact that, referring to particular places and events, the author avoids explicitly referential or interventionist descriptions and narratives; instead, she performs multi-story metaphorical transformations, paradoxically conducive to developing a vision of autonomous and active nature. What emerges from the poems is a record of a private cleansing, apotropaic ritual that the poet performs in the territory of flood-meadows (it was documented in the photos included in the book and in the exhibition), aiming, on the one hand, to come to terms with (personal and collective) loss, but also to undo the finality of death; and on the other hand, to disenchant the place (according to Sylvia Federici’s proposed understanding of this category). All these activities serve to reclaim the flood-meadow in the broadest sense – its material dimension as well as its energy and a relationship with it. The proposal formulated in this article to read the volume from an ecocritical perspective draws attention to the role of non-referential approaches to nature that liberate it from anthroponormative representations (which corresponds to the metapoetic postulates of Rolando advocating the idea of anti-illustration), but also fosters the inclusion of post-secular categories in non-anthropocentric studies
O metaforze „zza szyby”
Full text linkThe paper – referring to the poems by Aleksander Wat and Stanisław Barańczak, in which the metaphor of observing the world “from behind the glass” appears – describes the evolution of the way the metaphor was defined. The author traces this evolution in disputes from the time of structuralism, which dominated the literary methodology, to the contemporary “postmodern” position. The fundamental hypothesis and postulate at the same time is a radical turn towards interpretation, i.e. a procedure that places a poetic text again at the center of the discourse, at the expense of increasingly abstract theoretical disputes. Interpretation is understood here as asking questions and multiplying doubts in search of the sense and meanings of poetry
Przeskalowanie wyobraźni: maszyna językowa i poezja
Full text linkThe article is focused on the peculiarities 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 perspective of the development of artificial intelligence is an important part of their formative experience. She uses the terms introduced by Mark Fisher for this purpose: weird and eerie. The authoress compares poetic tricks appearing in Jurczak’s poems with the concept of poetic language of the first avant-garde. She points out the changes occurring in the poetics and aesthetics of the works, and also focuses on figures relating to the technological sphere of modernity. She polemically addresses the view of 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 authoress argues that the incorporation into the language of poetry of terms that have in everyday language the status of catachreses and over-lexicalized metaphors, allows to recover their creative potential and ambiguity. She considers the characteristic feature of the new poetic imagination to be its scaling, which also requires readers to take a new approach to the language of the new poetry
On Aura in Literary Work, Discretion for Reader and Mystery of Form on the Example of Siegfried Lenz’s A Minute’s Silence (2008): Between Bestseller and Poetology
Full text linkSiegfried Lenz’s novella (2008, English edition 2009) has not only been appreciated by literary critics, but also turned out to be a great bestseller. The novella is a frequent subject of research analysis, especially in terms of its location in the tradition of German and world novella writing. This diversity of reception is astonishing and presents an interesting phenomenon. The novella tells a banal love story, but through an intentional silence and a series of intertextual tropes it also creates mysteriousness. The analysis proposed here is based on Walter Benjamin’s notion of “aura” in the 1930s. From today’s point of view, this concept requires a few additions, primarily from the perspective of systems theory. As it turns out, this concept can be applied both to the content of the novella and to the strategy of literary criticism, as well as to explain the role of form and context in the personal perception of the text.Siegfried Lenz’s novella (2008, English edition 2009) has not only been appreciated by literary critics, but also turned out to be a great bestseller. The novella is a frequent subject of research analysis, especially in terms of its location in the tradition of German and world novella writing. This diversity of reception is astonishing and presents an interesting phenomenon. The novella tells a banal love story, but through an intentional silence and a series of intertextual tropes it also creates mysteriousness. The analysis proposed here is based on Walter Benjamin’s notion of “aura” in the 1930s. From today’s point of view, this concept requires a few additions, primarily from the perspective of systems theory. As it turns out, this concept can be applied both to the content of the novella and to the strategy of literary criticism, as well as to explain the role of form and context in the personal perception of the text
Myśleć kolorem, widzieć dźwiękiem
Full text linkThe editorial presents one of the important threads connecting articles that independently demon-strate the anti-binary ways that art functions. The text concerns the recognition of our perception ofthe world, as a combination of thinking and sensory experiences.The editorial presents one of the important threads connecting articles that independently demon-strate the anti-binary ways that art functions. The text concerns the recognition of our perception ofthe world, as a combination of thinking and sensory experiences
„Niby-wspomnienia”. Sygnały autotematyzmu i kategoria wyzwania w Wysokim Zamku Stanisława Lema
Full text linkThe article focuses on the phenomenon of autothematicism and the category of challenge in Wysoki Zamek by Stanisław Lem. The initial recognition of autobiography as the books genre and the evocation of previous analyses of the text in relation to the theory of the autobiographical triangle, provide the basis for an updating thesis on the dominance of the category of challenge and the widespread presence of autothematic phenomena in the work. Next, the history of Artur Sandauer’s concept of “autothematicism” and the evolution of the term in Polish literary studies are reviewed. Signals of autothematicism within the narrative, genre and stylistic conventions are outlined, as well as the importance of self-consciousness for this phenomenon in Wysoki Zamek
Energia awangardy, czyli o pewnym przypadku logowizualnego perpetuum mobile
Full text linkThe article concerns one of the most obscure and most daring (in terms of graphical experimentation) verbo-visual works of the Polish Great Avant-garde – the booklet Wąż, Orfeusz i Eurydyka [Serpent, Orpheus and Euridice, 1922] by Tytus Czyżewski, a painter and man of letters. The printed drama consists of double-spreads made of drawings (presented on the left pages) and text of a one-act play (always placed on the right). In her analyses Śniecikowska refers to the concept of “niezrozumialstwo” [nonunderstandableness] introduced by the Polish pre-war literary critic, Karol Irzykowski, focusing on the positive aspects of “understanding non-understanding”. She reveals possible similarities between Czyżewski’s artistic practice and the Surrealist technique of automatic drawing. She also uncovers some unclear connections between the visual and the textual within the booklet and points to the relations of Czyżewski’s work and the 21st century experiments with verbo-visuality
Literature as an Entangled World
Full text linkThe editorial discusses the volume’s assumptions and goals by briefly characterizing the covered issues (digital archive, liberature, literary reading of history, literary entanglement, relationships between literature, film, the theater, and video games) conceptualized in various research perspec-tives. The problem of the role of applying operational notions, such as re-enactment, remixability, indeterminacy, possibility, potentiality, virtuality, etc., which are used in attempts at creating a new onto-epistemology, are also considered. Therefore, literature is a constant performative re-enactment of the process of making the entangled world present. In this process, literature constantly reestabishes the world of different possibilities of existing.The editorial discusses the volume’s assumptions and goals by briefly characterizing the covered issues (digital archive, liberature, literary reading of history, literary entanglement, relationships between literature, film, the theater, and video games) conceptualized in various research perspectives. The problem of the role of applying operational notions, such as re-enactment, remixability, indeterminacy, possibility, potentiality, virtuality, etc., which are used in attempts at creating a new onto-epistemology, are also considered. Therefore, literature is a constant performative re-enactment of the process of making the entangled world present. In this process, literature constantly reestabishes the world of different possibilities of existing
Literature as a Vehicle of Mystery: On Jerzy Grotowski’s Writing
Full text linkJerzy Grotowski (1933–1999), who is considered to be one of the greatest theater artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he created and published texts. The volume collecting them all in print runs to 1131 pages. Scholars interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators, like Ludwik Flaszen, frequently times underlined the importance of Grotowski’s writings, stressing a special function literature played in this artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theater appears to be also an aware creator of a literature paradoxically closely related and working for mystery beyond words.Jerzy Grotowski (1933–1999), who is considered to be one of the greatest theater artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he created and published texts. The volume collecting them all in print runs to 1131 pages. Scholars interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators, like Ludwik Flaszen, frequently times underlined the importance of Grotowski’s writings, stressing a special function literature played in this artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theater appears to be also an aware creator of a literature paradoxically closely related and working for mystery beyond words
Entelechy of the Emanational Form: Zenon Fajfer’s Poems of Potentiality
Full text linkZenon Fajfer’s introduced into poetry an original, interactive form called “the emanational poem,” in which the multilevel acrostic is generative of simultaneously coexisting dimensions of text. The poet has used it in several of his works to render simultaneity, visibility and invisibility, potentiality and actuality. The article discusses the emanational form in view of Aristotle’s concept of entelechy. Exploring affordances of the electronic and printed media, the author explicates how the potentiality for mobility and intertextuality can be actualised in Fajfer’s “Ars Poetica,” Spoglądając Przez Ozo- nową Dziurę, and Powieki, drawing attention to the role of the reader in this process. She mentions the aporetic tension between the principle of Aristotelian entelechy and postmodern concept of intertextuality, also referencing the relevance of Ned Rossiter’s network theory to the interpretation of Fajfer’s work. Focusing on Powieki, a multimodal cycle of emanational poems, published as a compound of the material book and the digital poems in the CD, the author postulates, following Pisarski (2014) and Marecki (2018), that it is an entelechy of the hypertext. Moreover, this richly hyperlinked cycle of poems can be seen as a rewriting of the Orphean katabasis. It invites contem- plation of a complex, multidimensional space that should be explored in “slow,” or close reading, which defies typical expectations of electronic literature audiences. Finally, it is argued that Fajfer’s print-born digital hypertexts activate potentialities entailed in the matter(iality) of the writing in both media, the old and the new.Zenon Fajfer’s introduced into poetry an original, interactive form called “the emanational poem,” in which the multilevel acrostic is generative of simultaneously coexisting dimensions of text. The poet has used it in several of his works to render simultaneity, visibility and invisibility, potentiality and actuality. The article discusses the emanational form in view of Aristotle’s concept of entelechy. Exploring affordances of the electronic and printed media, the author explicates how the potentiality for mobility and intertextuality can be actualised in Fajfer’s “Ars Poetica,” Spoglądając Przez Ozonową Dziurę, and Powieki, drawing attention to the role of the reader in this process. She mentions the aporetic tension between the principle of Aristotelian entelechy and postmodern concept of intertextuality, also referencing the relevance of Ned Rossiter’s network theory to the interpretation of Fajfer’s work. Focusing on Powieki, a multimodal cycle of emanational poems, published as a compound of the material book and the digital poems in the CD, the author postulates, following Pisarski (2014) and Marecki (2018), that it is an entelechy of the hypertext. Moreover, this richly hyperlinked cycle of poems can be seen as a rewriting of the Orphean katabasis. It invites contem- plation of a complex, multidimensional space that should be explored in “slow,” or close reading, which defies typical expectations of electronic literature audiences. Finally, it is argued that Fajfer’s print-born digital hypertexts activate potentialities entailed in the matter(iality) of the writing in both media, the old and the new