159 research outputs found
Tekst jako „anastylos". Przedmiot i ciało w twórczości Jarosława Marka Rymkiewicza
No full textText as Anastylos aims at reconstructing Jarosław Marek Rymkiewicz's poetics as well as his worldview. The present author sees them as inseparable orders. The category of anastylos, primarily describing a type of architectonic conservation is used here as a means of presenting the specificity of negative testimony given by Rymkiewicz to various forms of existence, inscribed by him into various genological forms and treated as the integrative factor in the entirety of his discourse. The author claims that the specificity of the negative testimony may be, in general terms, described as an effect of simultanuous identity and nonidentity between the text and the being it reconstructs as well as a presentation of its objects - a thing and a body - as related in an act of their mutual creation.</span
"The physiology of the city": Józef Ignacy Kraszewski’s study of the multicultural Odessa
No full textThis paper focuses on the study of Odessa, made by Józef Ignacy Kraszewski in his Wspomnienia Odessy, Jedysanu i Budżaku (Memoirs from Odessa, Yedisan and Budjak; 1845–1846). The figure of the multicultural city and the literary form, commented by Kraszewski using physiological metaphors, are read here from the postcolonial perspective. The book of the Polish writer was compared with the work Kaleidoscopic Odessa. History and Place in Contemporary Ukraine (2008), which author, Tanya Richardson, refers to postcolonial studies and to Walter Benjamin's historiography. The analyses conducted resulted in the following conclusions: in a syncretic text, combining principles of a scientific hearing with the poetics of a subjective report, an image of Odessa was created, which is a description of the reality, but also its creation, formed according to the rules of the organistic discourse, yet close to the present-day form of urban studies. Drawing on concepts from physiology and physiognomy, Kraszewski outlined such a vision of the city, where its main feature is the integration of conflict: different cultures, nations, languages, religions and ways of organizing the urban space. With the corresponding figures of the palimpsest and kaleidoscope, the track of a "mixture" was referred by the creator to his own writing practice, to the realities of the nineteenth-century Odessa, in addition to its multi-layered history, considered important for the present. Memoirs... were supposed to have not only a cognitive, but also a causative function – to save the past and in this way to affect the present, so that the multicultural essence of Odessa would not get destroyed. Using Aesopian language, Kraszewski showed analogies between the history of Poland and the history of lands dominated by Russia in Ukraine, in order to make a more general reflection on colonialism. Himself, he did not, however, escape the colonial discourse, taking the rhetoric that Mary Louise Pratt considered characteristic of the imperial reports from travelling: he aestheticised the city, projected the highly artistic code of the West as otherness and came into the role of such an "I" that is changing the world into images.DOROTA WOJDA – dr hab., adiunkt w Katedrze Teorii Literatury. Studiowała filologię polską i filmoznawstwo na Uniwersytecie Jagiellońskim (1990–1995). Na UJ ukończyła studia doktoranckie z zakresu literaturoznawstwa (2003). Obroniła doktorat Pisarstwo Jarosława Marka Rymkiewicza. Poetyka negatywna i paradoksy dyskursu (2003). Pracowała w Państwowej Wyższej Szkole Wschodnioeuropejskiej w Przemyślu (2003–2009). Główne zainteresowania badawcze: mimesis, postkolonializm i performatywność. Prowadzi zajęcia z poetyki i teorii literatury. Wydała książki: Polska Szeherezada. Swoje i obce z perspektywy postkolonialnej, Kraków 2015; Milczenie słowa. O poezji Wisławy Szymborskiej, Kraków 1996.Jagiellonian UniversityJ. I. Kraszewski, Wspomnienia Odessy, Jedysanu i Budżaku. Dziennik przejażdżki w roku 1843 od 22 czerwca do 11 września, przypisami i posłowiem opatrzył P. Hertz, Warszawa 1985.T. Richardson, Kaleidoscopic Odessa. History and Place in Contemporary Ukraine, Toronto–Bufallo–London 2008.M. Crang, Cultural Geography, New York 1998.J. Bachórz, Karta z dziejów zdrowego rozsądku, czyli o fizjonomice w literaturze, „Teksty” 1976, nr 2.E. Owczarz, „Tam gdzie natura wskazywała wzór” – o niektórych sposobach kreowania postaci przez Józefa Ignacego Kraszewskiego, „Acta Universitatis Nicolai Copernici. Filologia Polska XII. Nauki Humanistyczno-Społeczne” 1982, z. 137.E. Skorupa, Twarze – emocje – charaktery. Literacka przygoda z wiedzą o wyglądzie człowieka, Kraków 2013.Podróż i doświadczenie historii, w: Zdziwienia Kraszewskim, red. M. Zielińska, Wrocław 1990.2162563
Text as Anastylos. Thing and Body in Jarosław Marek Rymkiewicz's Works
No full textText as Anastylos aims at reconstructing Jarosław Marek Rymkiewicz's poetics as well as his
worldview. The present author sees them as inseparable orders. The category of anastylos, primarily
describing a type of architectonic conservation is used here as a means of presenting the specificity
of negative testimony given by Rymkiewicz to various forms of existence, inscribed by him into
various genological forms and treated as the integrative factor in the entirety of his discourse. The
author claims that the specificity of the negative testimony may be, in general terms, described as an
effect of simultanuous identity and nonidentity between the text and the being it reconstructs as
well as a presentation of its objects - a thing and a body - as related in an act of their mutual
creation
Revisions of history and criminological discourse: Kuśniewicz, Terlecki, Rymkiewicz
No full textThe article concerns texts which problematize such figures of criminological discourse as
crime, perpetrator, victim, interrogator, or the penitentiary system. The works of A. Kuśniewicz,
W.L. Terlecki and J.M. Rymkiewicz perform multidimensional revisions: they question traditional
thinking about historical truth and the means of reaching it; they trespass the border between
literature and fiction; they resist criminological discourse. The writers discussed formulate
a diagnosis in many aspects close to that of M. Foucault’s and the new victimology, proving that
representations of history as well as mechanisms of social control are discourses of restrictive
authority. Korupcja [Corruption], Odpocznij po biegu [Rest after The Race], and Wielki książę
[The Grand Duke] respond to such violence with revisions of history as well as the present, thanks
to which literature becomes a form of radical hermeneut
"The questions of Root" : Zuzanna Ginczanka’s phenomenology
No full textArtykuł ten dotyczy florystycznych sygnatur Zuzanny Ginczanki (drzew, kwiatów i owoców), których używa poetka do konstruowania tropów literackich. Ukazuje on, w jaki sposób sygnatury te wprowadzają następujące opozycje: życie/śmierć, powierzchnia /głębia, zewnętrze/wnętrze, forma/treść, fenomen/istota. Główną tezą wywodu jest twierdzenie, że w poezji Ginczanki rozgrywa się konflikt o wartość fenomenologii - o to, czy ważniejsze są zjawiska (drzewa, kwiaty, owoce), czy skrywające się za nimi esencje ("sprawy korzenne"). Dowodzę ponadto, że myślenie poetki koresponduje z filozofią Maurice’a Merleau-Ponty’ego, w której uważa się doświadczenie podmiotu za związane z jego środowiskiem życia i utożsamia filozofię ciała z fenomenologią percepcji. Podkreślenie w tytule artykułu "spraw korzennych" wskazuje na to, co jest dla Ginczanki najbardziej problematyczne, a zarazem - co decyduje o uznawaniu przez nią poezji za ekspresję niemożliwych do zaspokojenia pragnień.The paper concerns Zuzanna Ginczanka’s floristic signatures (trees, flowers and fruits), which are used by the poet to construct literary tropes. It shows how, by means of these signatures, the following oppositions are introduced: life/death, surface/depth, outside/inside, form/substance, phenomenon/essence. The crux of the argument is that in Ginczanka’s poetry there is a conflict concerning the value of phenomenology, i.e. what is really important: the phenomena (trees, flowers, fruits) or the hidden essences ("the questions of Root")? I go on to argue that the poet’s thinking corresponds to Maurice Merleau-Ponty’s philosophy, in which the subject’s experience is considered to be related to his life environment and the philosophy of the body is identified with the phenomenology of perception. Emphasizing "the questions of Root" in the very title of the paper indicates what is most problematic for Ginczanka and, at the same time, what determines her recognition of poetry as an expression of unattainable desires
"Ariadna’s tears" : Jarosław Marek Rymkiewicz's poetic cycle as an existing in nothingness
No full texthe article concerns Jaroslaw Marek Rymkiewicz's 'Four Poems for a Dead Goddess' (from the 2006 volume 'Good bye rooks') seen as a cycle and set against the poet's other achievements. Founded on this, the author formulates a thesis that cyclicality is key feature of Rymkiewicz's creativity seen an a discourse displaying the paradox of disparity and repetition. The cyclicality in question consists in the writer's establishing among his texts the various relationships, links them into series, determines the proper idiom for them, and takes up the concept of eternal return. The interpretation of 'Four Poems' effects in formulating a conclusion that Rymkiewicz transforms a myth to display Dionysian vision of the worls and to make poetry affirmation of existing in nothingness. The cycle dedicated to Ariadna performs the destiny of the goddess, it is an act of transgression and benefaction, and at the same time a literary event which induces performative reading
Preparing the image of a black person in the anthology Nyam nyam by Edward Kozikowski and Emil Zegadłowicz
No full textThe article presents an interpretation of texts published in 1923 as a collection of translated African
poetry, which was in fact a literary mystification. The concepts of postcolonial criticism are
used to analyze some racial stereotypes that have been updated by the authors of the performance
and to demonstrate how they project their own ideas of regionalism and primitivism on the characters
in their poems, thereby committing an act of symbolic anthropophag
The plait : Leśmian’s transgressions
No full textZawarte w tym artykule interpretacje dotyczą motywu warkocza, który pojawia się w różnych formach gatunkowych pisarstwa Bolesława Leśmiana. Część pierwsza wprowadza w jego najważniejsze znaczenia symboliczne: wyjątkowej wartości - odpowiadającej mowie wiązanej, sztuce poetyckiej - a jednocześnie transgresji i zespolenia pozoru z prawdą. Wątki te rozwijane są w kolejnym podrozdziale, uzasadniającym twierdzenie, że za pośrednictwem przedstawień warkocza Leśmian ironicznie ukazuje paradoksalność bytu, jako splotu fantazji z realnością. Myśl poety zostaje w tej partii objaśniona koncepcją farmakonu Jacques’a Derridy. Następna część artykułu prezentuje Leśmianowskie istoty transgresywne - kobiety z warkoczami i same warkocze, obrazujące, że symbolizowana przez nie poezja stanowi wartość, która jest przemianą, "pieśnią bez słów", naruszaniem granic i połączeniem sprzeczności. Zestawienie tych wątków z ideami gnostyckimi, kontynuowane w dalszym wyodrębnionym fragmencie, nakłada się na ukazanie powiązań twórczości Leśmiana z formułą ironii romantycznej, szczególnie w ujęciu Friedricha Schlegla. Parabazie, autoironicznym tropom i wyobrażeniu "bezsłownej melodii" poświęcone są końcowe interpretacje, zmierzające do wniosku, że warkocz jest w dziełach Leśmiana figurą niewyrażalnej tajemnicy bytu, a zarazem symbolizuje poezję, ironię i fantazję.The interpretations included in the paper refer to the motif of the plait which appeared in different genre forms of Bolesław Leśmian’s writing. Part one offers an introduction to its most important symbolic meanings: extraordinary value which corresponds to verse, poetic art and, at the same time, transgression and fusion of the appearance with the truth. These threads are developed in the following sub-chapter which justifies the assumption that through depicting the plait Leśmian ironically shows the paradoxality of existence as a tangle of fantasy and reality. The poet’s thought is explained in this part by the concept of Jacques Derrida’s pharmakon. The subsequent part of the article presents Leśmian’s transgressive creatures: women with plaits and plaits alone illustrating that poetry symbolized by them represents a value which is a transformation, “song with no words”, violation of boundaries and fusion of contradictions. Juxtaposing these motifs with gnostic ideas continued in the following isolated fragment overlaps with showing connections between Leśmian’s works with the formula of romantic irony, particularly as understood by Friedrich Schlegel. The parabasis, auto-ironic traces and the concept of "wordless melody" are analyzed in final interpretations which lead to the conclusion that the plait in Leśmian’s works is a figure of the unthinkable mystery of existence, and at the same time it symbolizes poetry, irony and fantasy
Serdeczne idiomy w listach Wisławy Szymborskiej i Kornela Filipowicza
No full textKorespondencja Wisławy Szymborskiej i Kornela Filipowicza, zebrana w książce Listy. Najlepiej w życiu ma Twój kot (2016), zostaje w tym artykule odczytana jako dyskurs miłosny z prywatnymi idiomami. Powstaje dzięki nim poetyka kryptogramu niejasna dla innych, a czytelna dla korespondentów, łączących w jedną całość epistolografię, sztuki użytkowe, literaturę i życie. Głównym środkiem tej poetyki jest rekontekstualizacja, która polega na odgrywaniu przez pisarzy różnych ról oraz przemieszczaniu się między nimi. Pozostaje ona w związku z teatralizacją, cechującą zwłaszcza twórczość Szymborskiej jako lirykę nowoczesną maski i roli. Naruszanie granic między różnymi dziedzinami sztuki i życia dokonuje się w listach za pośrednictwem kolaży, wyklejanek, readymades, które angażują nie tylko umysł, ale i ciało, pozwalając skrywać uczucia za maskaradą, a jednocześnie przekazując to, co niewyrażalne.The correspondence between Wisława Szymborska and Kornel Filipowicz, which has been published in the book "Listy. Najlepiej w życiu ma Twój kot" (2016), is interpreted in this paper as a love discourse with the use of private idioms. This creates a poetics of the cryptogram, enigmatic to others, yet clear to the correspondents who combine epistolography, applied arts, literature, and life into one whole. The main means of this poetics is the recontextualization in which the writers perform different roles and move between them. This is related to creating of the text as theatre, which characterizes Szymborska’s poetry in particular as a modern lyric of the mask and role. The violation of the borders between various fields of art and life is done in these letters through collages, stickers, and ready mades that engage not only mind but also body, allowing to hide feelings behind a masquerade, at the same time conveying what is inexpressible
- …
