31 research outputs found
O rytualnych pojedynkach artystów z systemem i ich dziennikach intymnych
No full textReviewed book
Waldemar Okoń
Jestem jak echo. Rok 1983
Wrocław: Wrocławskie Wydawnictwo Warstwy: 2017.
ISBN 978-83-65502-97-1
Aneta Grodecka, dr hab. prof. UAM; polonistka uniwersytecka; zatrudniona w Zakładzie Dydaktyki Literatury i Języka Polskiego; autorka książek: Słownik pisarzy i dzieł współczesnych, 2000; Poeci patrzą… Obrazy, wiersze, komentarze, 2008; Wiersze o obrazach. Studium z dziejów ekfrazy, 2009; Bańka mydlana. Artefakt w przestrzeni pamięci, 2013; Słowo i obraz w epoce multiplikacji, 2016; podręczników oraz artykułów, które ukazywały się na łamach pism: „Polonistyka”, „Polonistyka Innowacje”, „Polski w Praktyce”, „Katecheta”, „Quart”, „Przestrzenie Teorii”, „Edukacja Humanistyczna. Rocznik Naukowo-Dydaktyczny”, „Litteraria Copernicana”, „Dyskurs. Pismo Naukowo-Artystyczne ASP we Wrocławiu”, „Poznańskie Studia Polonistyczne. Seria Literacka”, „Spotkania Humanistyczne. Międzynarodowy Interdyscyplinarny Rocznik Naukowy”, „Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia”, „Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica”; jej główną domeną naukową jest pogranicze literatury i sztuk plastycznych, zajmują ją także zagadnienia z zakresu wielozmysłowości i neurofilologii. Curriculum vitae na stronie: https://grodecka.home.amu.edu.p
Ekphrasis as a potagonist of parody - on some poems of Olgerd Dziechciarz
No full textThe appearance of the parody of poetic ekphrasis is an important argument in disputes concerning
its status. The author considers Olgerd Dziechciarz's collection of poems Galeria "Humbug"
[The "Humbug" Gallery] as a missing link of reconstruction of the genre, referring to her own
studies conducted as a post-graduate work Wiersze o obrazach. Studium z dziejów ekfrazy
[Poems on pictures. A study in the history of ekphrasis] (in preparation). In the course of the
analysis the author referred to paintings (H. Bosch, P. Cezanne, Michelangelo), other poetic
commentaries of C. Miłosz, A. Stern as well as studies on art (among others D. Freedberg,
F. Arnau), considering mainly the problems connected with the reception of pictures
Fotografie nieistniejącego świata. O polskiej sztuce fantastycznej
No full textStarting with a reconstruction of the views of philosophers and aesthetes on the topic of fantastic images, the Author aims to characterize fantasy art. She describes the reception of this art in Poland, characterizes its determinants, and defines the trend, indicating the most important examples of artistic works. While exploring this approach, she refers to Waldemar Okoń, Jerzy Malinowski, Tomasz Gryglewicz, and Antoni Smuszkiewicz. The convention of fantasy art appears to be a vital, developmental quality, an expression of the rebellion of consciousness against simplifications.Starting with a reconstruction of the views of philosophers and aesthetes on the topic of fantastic images, the Author aims to characterize fantasy art. She describes the reception of this art in Poland, characterizes its determinants, and defines the trend, indicating the most important examples of artistic works. While exploring this approach, she refers to Waldemar Okoń, Jerzy Malinowski, Tomasz Gryglewicz, and Antoni Smuszkiewicz. The convention of fantasy art appears to be a vital, developmental quality, an expression of the rebellion of consciousness against simplifications
Artefakt kulturowy w humanistyce
No full textThis article is devoted to the concept of an artifact, as derived from older methodological knowledge (J. Białostocki and E. Panofsky), which has been broadened to include new indicators, such as changes of the virtual era as well as the categories of experience and reflections on narration. By reconstructing the phenomenon of artifacts, the author refers to the category of ‘reality’ accordingto Heidegger and W. Toporow as well as the ideas of a ‘sign’ and ‘theme’, and Polish artistic practice (T. Kantor and Z. Herbert). The concept is situated within the arts as well as within a contextualized area of the social sciences (an actant) and aims to offer new perspectives on the study of culture
Poetyka intersemiotyczna a dydaktyka literatury
No full textIntersemiotic poetics and teaching literature
The article is devoted to intersemiotic poetics derived from the theory of translation, that is the principle of translation described by Roman Jakobson (the interpretation of linguistic signs by means of non-verbal signs). From the reconstruction of research stances, changes in the concepts of the mind, and a new understanding of the processes of perception and metaphor, the Author relates the mechanisms of intersemiotic translation to borderline forms (ekphrasis and audio description) and the principles of teaching. By analyzing selected examples (Jacek Kaczmarski’s ekphrasis and editorial notes to Wisława Szymborska’s poem Utopia), she proves that after rejecting the principles of equivalence and similarity, while simultaneously maintaining the principle of causality, one may look for affinities in deeper semantic layers (amplification, addition) or engage in teaching literature, where intellectual precision is related to the shaping of emotions and skills involved in the multisensual reading of cultural texts
Mózg w humanistyce. O tendencjach neuronalnych w twórczości Stanisława Przybyszewskiego
No full textStarting from a reflection about differences between the humanities and science, the author indicates the possibility of expanding the neuroscience on neurological literature criticism, based on the cultural theory of culture and concepts of embodied mind. She applies this new strategy to the works of Stanislaw Przybyszewski, expanding its traditional fields of references such as psychoanalysis, psychopathology or mystical Gnostic symbolism. She analyzes letters, essays and poems from the Berlin period, referring to journalism at the turn of the nineteenth and twentieth century („Prawda”, „Zdroj”). She is interested mainly in imaginary space and tectonics of thinking, distinguished in the work, she distinguished the analyzed fragments in terms of the reference to „neurological styling” (an electric machine ganglia, synthetic knot, thread) and „neurological copies”. Finally, the writer’s reflections on the functioning of the brain, leads the author to the conclusion about the new image of the subject and domination of brain metaphors in culture (rhizome).Wychodząc od refleksji o rozbieżnościach między humanistyką i nauką, autorka wskazuje na możliwość poszerzenia neuronauki o krytykę neurologiczną utworów literackich, opartą na kulturowej teorii kultury i koncepcji umysłu ucieleśnionego. Nową strategię stosuje wobec twórczości Stanisława Przybyszewskiego, poszerzając pole jej tradycyjnych odniesień, takich jak psychoanaliza, psychopatologia czy symbolika mistyczno-gnostyczna. Analizie poddaje listy, eseje i poematy z okresu berlińskiego, odwołując się do publicystyki z przełomu XIX i XX w. („Prawda”, „Zdrój”). Interesuje ją głównie przestrzeń wyobraźniowa i architektonika myślenia zaznaczająca się w utworze, różnicuje analizowane fragmenty pod względem stopnia referencji, dzieląc je na „neurologiczne stylizacje” (maszyna elektryczna, gangliony, węzeł syntetyczny, nici) i „neurologiczne kopie”. Ostatecznie, pisarskie refleksje na temat funkcjonowania mózgu prowadzą autorkę do wniosków o nowym obrazie podmiotu i dominacji metafor mózgowych w kulturze (kłącze)
W labiryncie Lema i Skarżyńskiego. O polskiej odmianie neurogunk
No full textThe article discusses the neurological inspirations of Stanislaw Lem. Starting from the reconstruction of writing inspirations related to the science of the brain (Mieczyslaw Choynowski, Hoagland Hudson), the author sets in this context the story Rat in a maze, analyzing it in connection with plastic transposition of Jerzy Skarzynski. In transdisciplinary space of the work she distinguishes three types of labyrinth: laboratory, time and light, recognizing the third variant as a metaphor for the mind. The analysis is completed by an indication of further neurological clues (Solaris, philosophical writings and essays), which leads the author to reconstruction of the mind concept in Lem’s works while relating it to the views of modern philosophers of mind, such as John Carew Eccles, Nicholas Humphrey
Ogniwo Artura Marii Swinarskiego w serii translatorskiej utworów Johanna Wolfganga Goethego
No full textBased on the findings of translation experts on the translation series, the author focuses on Polish-German tropes in the works of A.M. Swinarski, carrying out a detailed analysis of selected translations of Goethe’s poems. A comparison of translations by Swinarski, Jarosław Iwaszkiewicz, Stefan Zarębski, Feliks Konopka and Andrzej Lam reveals changes in the sphere of meanings designed in the original and reflects on the principles of literality and interpretation in translation practice.Based on the findings of translation experts on the translation series, the author focuses on Polish-German tropes in the works of A.M. Swinarski, carrying out a detailed analysis of selected translations of Goethe’s poems. A comparison of translations by Swinarski, Jarosław Iwaszkiewicz, Stefan Zarębski, Feliks Konopka and Andrzej Lam reveals changes in the sphere of meanings designed in the original and reflects on the principles of literality and interpretation in translation practice
Wektor poetycki w biografiach artystów: Olga Boznańska, Wojciech Weiss, Jerzy Tchórzewski
No full textStarting from the contemporary trends in biography and referring to findings in the field of anthropology of writing and new materialism, the author analyzes poetic forms created in painting studios. She considers the works of O. Boznańska, W. Weiss and T. Tchórzewski as poetic manifestations of the literary practice of everyday life, a type of poeticised documents. The presence of poetry in artists’ lives is multi-faceted: loose pages preserved in a scrapbook, entries in a journal and autonomous works printed in the press, hence their role in creative biography is different. The common ground is a syncretic perception of creativity; the preserved texts co-create a kind of artistic site where the boundaries between the publication, the exhibition and the project performance blur, requiring special editing operations.Starting from the contemporary trends in biography and referring to findings in the field of anthropology of writing and new materialism, the author analyzes poetic forms created in painting studios. She considers the works of O. Boznańska, W. Weiss and T. Tchórzewski as poetic manifestations of the literary practice of everyday life, a type of poeticised documents. The presence of poetry in artists’ lives is multi-faceted: loose pages preserved in a scrapbook, entries in a journal and autonomous works printed in the press, hence their role in creative biography is different. The common ground is a syncretic perception of creativity; the preserved texts co-create a kind of artistic site where the boundaries between the publication, the exhibition and the project performance blur, requiring special editing operations
Aposiopesis albo figury myśli w dobie ucieleśnionego umysłu
No full textThe Author is interested in the states of becoming silent, discontinuing one’s utterance, which are associated with certain mechanisms of the functioning of the brain, as well as in the observation of such states in different artistic disciplines. Looking for an answer to the question how aposiopesis operates in words, sounds, and images, she analyzes pieces of music, poems (Zbigniew Herbert’s Pora), and examples of visual arts (Wojciech Pakmur’s paintings of the tango). In her reconstruction of the research field, the Author refers to rhetoric ( Jerzy Ziomek, Seweryna Wysłouch), the philosophy of language (Michel Foucault, Jean-François Lyotard), and neurophenomenology. The aim of the article is to suggest a new mode of reading that seeks inspiration and language in works from the field of neuropsychology (Maria Pąchalska), hermeneutic phenomenology (Mark Johnson), or neurology (António Damásio, Oliver Sacks). The Author’s analyses refer to Raoul Schrott and Arthur Jacobs’s concept (Gehirn und Gedicht, 2011), and the conclusions confirm that one should not look for a model (pattern) in the reception of art, but describe mental processes. The proposed mechanism of interpretation is most accurately reflected by the metaphor of dance improvisation, where one does not meditate on and then perform particular steps and gestures, but “thinks in motion.” This mode of reading emphasizes the spatial dimension of thought processes and their dynamic nature.The Author is interested in the states of becoming silent, discontinuing one’s utterance, which are associated with certain mechanisms of the functioning of the brain, as well as in the observation of such states in different artistic disciplines. Looking for an answer to the question how aposiopesis operates in words, sounds, and images, she analyzes pieces of music, poems (Zbigniew Herbert’s Pora), and examples of visual arts (Wojciech Pakmur’s paintings of the tango). In her reconstruction of the research field, the Author refers to rhetoric ( Jerzy Ziomek, Seweryna Wysłouch), the philosophy of language (Michel Foucault, Jean-François Lyotard), and neurophenomenology. The aim of the article is to suggest a new mode of reading that seeks inspiration and language in works from the field of neuropsychology (Maria Pąchalska), hermeneutic phenomenology (Mark Johnson), or neurology (António Damásio, Oliver Sacks). The Author’s analyses refer to Raoul Schrott and Arthur Jacobs’s concept (Gehirn und Gedicht, 2011), and the conclusions confirm that one should not look for a model (pattern) in the reception of art, but describe mental processes. The proposed mechanism of interpretation is most accurately reflected by the metaphor of dance improvisation, where one does not meditate on and then perform particular steps and gestures, but “thinks in motion.” This mode of reading emphasizes the spatial dimension of thought processes and their dynamic nature.
