1,721,065 research outputs found
Text as Anastylos. Thing and Body in Jarosław Marek Rymkiewicz's Works
Full text linkText 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
"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
Tekst jako „anastylos". Przedmiot i ciało w twórczości Jarosława Marka Rymkiewicza
Full text linkText 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
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Stefan Flukowski’s perspectivism
No full textPisarstwo Stefana Flukowskiego może być uznawane za realizację nowoczesnego perspektywizmu, która przejawia się w różnych formach stylistycznych i gatunkowych. Obejmuje ona poetykę zmiennego punktu widzenia, konfrontowanie sprzecznych postaw, ujawnianie wielowymiarowej natury zjawisk, zderzanie ze sobą odrębnych języków i wykraczanie ku temu, co pozajęzykowe. Takie cechy wskazano w dramatach, formach epickich oraz wierszach pisarza, co prowadzi do wniosku, że twórczość Flukowskiego, stanowiąca zintegrowany projekt literacki, sytuuje się w nurcie zacierającym granicę między awangardą a modernizmem.The work of Stefan Flukowski can be seen as an embodiment of modern perspectivism, a poetics that has spread across virtually all genres and stylistic forms. Its most characteristic techniques are shifts of the narrative point of view, juxtaposition of opposed views and attitudes, the exposure of the inherent complexity of characters and situations, and the colliding of different languages in order to catch glimpses of a reality beyond language. As plenty of those devices can be found in Flukowski’s dramas, poems and fiction, we may conclude that his literary work, which exhibits a remarkable programmatic consistency, situates him on the blurred borderline between the avantgarde and modernism.Recenzowane materiały z konferencji: Stefan Flukowski i kult nowoczesności; 2012-05-07; 2012-05-09; Szczeci
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