Przestrzenie Teorii, 2004, nr 3-4
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Item Recenzje(Wydawnictwo Naukowe UAM, 2004) Lis, Jerzy; Gawarecka, AnnaRegina Lubas-Bartoszyńska, Pisanie autobiograficzne w kontekstach europejskich, „Śląsk” Wydawnictwo Naukowe, Katowice 2003, 212 ss.Item Spis treści(Wydawnictwo Naukowe UAM, 2004)Item Pochodzenie liryki greckiej(Wydawnictwo Naukowe UAM, 2004) Freidenberg, Olga; Żyłko, Bogusław (Tł.)Item Medytacja nad Pustką. Konteksty buddyjskie w „Końcówce" i „Szczęśliwych dniach” Samuela Becketta(Wydawnictwo Naukowe UAM, 2004) Klimczak, Dariusz PiotrThanks to Buddhist contexts, present in S. Beckett's two long plays (The Endgame and The Happy Days) we understand that death, signifying the ultimate Nothingness and Emptiness appears to be the change of the perceiving substance, which getting rid of the body, is joined with the nonbodily content of the things. Beckett's doxology of the light makes it that since Life is compared to the flame, Death depicts its extinguishing, but at the same time the value of eschatological hope is expressed through Buddhist motifs (karma of the Yoga, little Buddha, nirvana, the wheel of Samsara and the like). Death is for Winnie, Hamm and Clove an internal act of transgression, touching directly the dying person, but at the same time the heroes of Beckett's plays transfer their feeling connected .with dying to the external observer (the spectator). And so Beckett achieved the dimension of the most important function of the theatre of „participation" and „initiation". Recognising Buddhist contexts in Beckett's plays, we accept Death as one of the stages of the biological cycle - being a peculiar kind of repayment of a debt to nature.Item Kto jest „autorem" The Dark Side Of The Moon? O nadawcy rockowym(Wydawnictwo Naukowe UAM, 2004) Rychlewski, MarcinThe essay deals with the status of the sender in rock music. The rock music sender is invariably a collective entity (the musicians, the producer, the lyricist, the cover sleeve designer). A work of art in rock music (a song, an album) is always the sum total of various creative personalities as well as the end result of numerous compromises. In effect, it is often difficult to pinpoint a single intention behind a given message, which is why interpretations of such a message should disregard any commentary from the artists in question. The author draws an analogy between the rock music sender and the subject of literary creativity. Another characteristic of the rock music sender consists in their being both the "author" and the "performer" of the works within their repertoire (inasmuch as rock music cancels the oppositon: score/performance).Item Komparatystyka literacka wobec translatologii. Przegląd stanowisk badawczych(Wydawnictwo Naukowe UAM, 2004) Brzostowska-Tereszkiewicz, TamaraResearches on the previous styles of conducting literary comparative studies on the one hand and on the essentialist source-oriented translatology on the other demonstrate their incommensurability with literary theory discourse and its critical conceptual apparatus. Any interference of their languages representing diverse methodological options has long been precluded. The article includes a brief survey of the historical development and mutual relationships between successive methodological approaches within comparative literature and translatology, from the split between the positivist philology of influences and dependences and hermeneutic translational thought to their final reunion in the culture-oriented Translation Studies of the 1990s. The references to the main trends of the 20th century translatology are supported by their concise characteristics. Translation-oriented comparative literature is viewed as a discipline fit for centering the (post)modern humanities, provided that it will be reoriented in accordance with the main directions of the contemporary theory of literature.Item Philippe Lejeune, Catherine Bogaert: Historia pewnej praktyki „Uri journal à soi" (Paris 2003, Ed. Textuel, s. 214, album)(Wydawnictwo Naukowe UAM, 2004) Lubas-Bartoszyńska, ReginaThis article discusses the content of an album of P. Lejeune and C. Bogaert, published in Paris in last year (in 2003), dedicated to a personal diary. The fact of bringing out of this publication became for the author of this article an impulse to present an anthropological view at the form of diary. The author - taking an opportunity of presenting the content of the album - gives an outline of the tradition of the genre, discusses various criteria (geographical, historical, sociological) which have an influence on the development and formation of this literary form. The author also draws attention to the significant features of a personal diary (the ones which differ it from, e.g. autobiography) and its kinds (from the purest form of a personal, intimate diary through the diary-letter written by one to him/herself to some unconvetional diaries such as: a painter's diary, diary-comic-strip, film diary, diary-photograph, on line diary - blog). While also pointing to such forms as: spiritual diaries, journey diaries, log books, and historical chronicles, the author emphasises the necessity of relating the origin of the diary with a concrete situation of men.Item O czym rozprawiają matematycy, c zyli o statusie bytowym przedmiotów matematyki(Wydawnictwo Naukowe UAM, 2004) Murawski, RomanIn this article the author considers various conceptions concerning ontological status of the objects of mathematics. The relation is show between these problems and a dispute over universals, and then Platonism, conceptualism and nominalism as the fundamental standpoints on the question o f mathematical objects are presented. Examples are given of concrete (specific) theories w ith in these standpoints and their implications (also epistemological ones) are shown.Item W stroną mowy pozornie niezależnej, czyli o dialogu w polskiej prozie współczesnej(Wydawnictwo Naukowe UAM, 2004) Mizerkiewicz, TomaszDialogue as a part of Polish prose didn't attract enough attention. Its form changed along with literary conventions, for instance - realistic novels imitated common conversations. Nowadays Polish novelists use dialogues rather incidentally and often stress its unauthenticity. The speach of character is always quotation of phrases heard before. The new form of dialogue can be traced in Polish prose - some sentences seem to be given as direct speach, but close examination of their construction reveals their inderict essence. It should be called „reported direct speach" (as negative of „free indirect speach"). This form of dialogue is part of an important process descibed by contemporary philosophers as triumph of culture of writing over traditional culture of voice.Item Senecjańskie „noli me tangere"(Wydawnictwo Naukowe UAM, 2004) Wesołowska, ElżbietaThe paper concerns the question (deals with the question) of the role of proximity in Seneca's tragedies. The title expression "noli me tangere", although not originally Senecan, is given a symbolic nature being quite convenient to eulcidate the peculiar interpersonal distance in Roman tragedies. Avoidance of the physical contact has its roots in the stoical doctrine based on fear of the emotions especially arisen in the mutual human relations. However, it also seems to be obvious that in such a construction of dramatic interaction there is some evidence both of the author's own nature and of his difficult social situation (as an exile on Corsica or during his "inner emigration" toward the end of his life). It is worth mentioning that the "frozen" situation between Seneca's dramatis personae is paradoxically a factor of a rising dramatic effect.Item Teatr w XXI wieku - ku nowym definicjom(Wydawnictwo Naukowe UAM, 2004) Kosiński, DariuszThe article Theatre in 27” Century - Towards New Definitions deals with the problem of narrow understanding of theatre art that dominates not only common thought but also the scientific practise of Polish theatrologists. This traditional definition is based on five elements: theatrical illusion, close connection with drama, dramatic character, stage box and space/time community between actors and spectators. During the development of the theatre in 20,h century this distinctive features were disproved by the reformers and experimenters. At the same time such theatre categories as performance, role, stage etc. were widely used to describe "theatre of everyday life". In the last decades of the 20th century the new field of science - the performance studies - emerged. The reaction of the theatrology was one of defending the traditional borders and neglecting all that was different from the conventional theatre by calling it "paratheatrical" or "alternative". In the author's opinion this notion is false and causes real losses for the discipline, so he proposes to open the borders of theatrology by taking different activities into account. But it doesn't mean the full acceptation of performance studies' terminology and point of view, because there is a danger of substituting the term "theatre" by the wider term "performance". And the difference between one and the other seems to be important, because the theatre is a kind of consciously created performance which is marked as such. The ways and methods of this marking depend on the cultural and historical context, so they change in space and time. Only the exact act of marking is universal. It means, that in the scientific practise there is no universal group of definite "theatre factors". The definitions of theatre are always to be reached and that's why "towards" is the most important word in the article's title.Item Program artystyczny Teatru Rapsodycznego(Wydawnictwo Naukowe UAM, 2004) Popiel, JacekThe history of the Rhapsody Theatre is one of the most dramatic chapters in the history of the 20th century Polish theatre. The group established in Cracow in 1941, managed by Mieczysław Kotlarczyk, was operating during the Nazi occupation as a clandestine theatre. In the first years after the end of World War II it played a significant role, realising the dreams of its founders from the time of Nazi occupation concerning the repertory programme of the theatre, in which the main place would be that of Polish Romantic and neo-Romantic writers. In 1953 the Rhapsody Theatre was closed for propagation of the „mistaken, antirealistic and mystic, ideologically hostile" artistic programme. It was reopened in 1957 on the wave of the post-October political thaw, but was finally liquidated by the authorities of the Polish People's Republic in 1967. In the article the author discussed the fundamental assumptions of the artistic programme of the Rhapsody Theatre (sources of inspiration, similarities to the idea of the national theatre, theatre of the word as a theatre of imagination, the art of acting, rules of recitation).Item Media - teatr/spektakl(Wydawnictwo Naukowe UAM, 2004) Gwóźdź, AndrzejConsidering the nature of the relation medium - form the author proposed an insight into two models of relationships between the cinema and the theatre: the first one including the decade of 1925-1935 and the contemporary one. However, the author is not concerned with how the theatre takes advantage of the achievements of the cinema, but he wishes to show the intermedial relationships which join the stage with the screen at the level of the medium - as a vision machine incorporated into a wide system of culture. And this is connected not only with techniques of forming the presented worlds, but first of all with calculating newer and newer environments for technology of the technically mediated seeing. Thus, if intermedia character was formerly expressed in the exchange of forms between the media (film in the theatre/spectacle in film), then the contemporary spaces of the borderline (represented, let's say, through Peter Greenaway's installations) concern tensions between the materiality of the world, medial character of cinema images and mobility of the spectator. Theatre becomes here an element of film culture, and film intervenes in the stage creating spectacles of medial interfaces.Item „Rejs" jako gatunek(Wydawnictwo Naukowe UAM, 2004) Hendrykowski, MarekMarek Piwowski's film „Rejs" (The Cruise) made in 1969 and the premiere of which was on 10 October 1970 at „Bajka" cinema in Warsaw, rightly (deserves) to be one of the most popular Polish films of all time. This study attempts to offer a more complete characterisation of the feature of the genre of this unusual work of film art. It is commonly thought that „Rejs" is a comedy. Against the background of the model of comedy of the 60s of the 20th century, however, it is a comedy of a very special kind. The author does not doubt the comedic character of Piwowski's film, but points to different possible from those used until now ways of interpreting this film (a holiday comedy, anti-production film, social satire, pamphlet, psychodrama, sociodrama), starting from the assumption that the genre instruction written into this work contains a much richer repertoire of possible interpretations.Item Kłopoty z ekfrazą(Wydawnictwo Naukowe UAM, 2004) Gogler, PawełThis text is an attempt at a theoretical interpretation of the phenomenon of ekphrasis as a genre on the basis of Polish poetry of the 20th century. Pondering on what ekphrasis is today, the author presents ways of transgressing and going away from the form of ekphrasis proper, inherited from Philostratos the Elder. To achieve this goal, the author frames some basic questions which are to define the determinants of the genre, the function of the metatextual reference and the objects of this reference. Is ekphrasis expressed by means of a description (faithful/transforming), or a discursive interpretation? Is it a poem - a whole or a fragment of a poem? What is a work of art for the ekphrasis in the context of transformations of the 20th century artistic practice.Item Od obrazu do sentencji. O grafice Sławomira Mrożka(Wydawnictwo Naukowe UAM, 2004) Wysłouch, SewerynaThe author analyses co-existence of visual and language signs in Mrozek's drawings. Because of the kind of mutual relations, seven types of signs are distinguished. These are: 1. visual autonomous signs; 2. comic strips (stories in drawings); 3. iconic multimeaning sign; 4. iconic sign - interpreting of the language sign; 5. language sign - interpreting of iconic sign; 6. language sign reduced to the plan of expression; 7. iconic sign as a pretext to introduce language communication. The analysis shows the relational character of language signs in heterogenic communications and vast possibilities of iconic signs which, apart from conveying simple information, are capable of interpreting concepts and ridicule mechanisms of language manipulation. It also allows to speak about the evolution of Mrożek's work.Item Narracja a tożsamość - przypadek Rolanda Barthes'a(Wydawnictwo Naukowe UAM, 2004) Dziadek, AdamThe author makes an attempt at an analysis of the original text „Roland Barthes par Roland Barthes" from the point of view of narration and identity. The fundamental question emerging from the analysis of the text is that of how it is possible to write about oneself at all, writing an autobiography and what obstacles are presented to this kind of writing by language itself and by history. This is proven by unequivocal analyses of personal forms appearing and playing a special role in „RB par RB".Item Człowiek i bycie. O ograniczaniu podmiotowości w późnej twórczości Czesława Miłosza(Wydawnictwo Naukowe UAM, 2004) Gleń, AdrianThe text tackles the question of the phenomenon of being, one of the crucial issues in Mitosz's late poetry. The author analyzes Mitosz's various strategies of constructing and deconstructing the subject, and interprets them as conscious acts which make man's perception of Being possible. At the article's core stands the poet's inter-semiotic dialogue with Martin Heidegger's philosophy of language as set around the question of the articulation of existence in the poetic word.Item Pan Soplica jako maska pseudonimu Henryka Rzewuskiego(Wydawnictwo Naukowe UAM, 2004) Dudziak, PawełTraditionally spoken genre, which in the 17th and 18th centuries was the noblemen's tale, became in the 19th century a written form of tale, i.e. Pamiątki Soplicy [The memoirs of Soplica] of Henryk Rzewuski. The genre description of tale has always presented troubles to literary scholars - an attempt at capturing its distinctive features are usually not very precise or discussed from too many aspects. Studies on the tale should be started from the new recognition of the status of the tale „narrator" in the model realisation of the genre, i.e. Pamiątki Soplicy [The memoirs of Soplica]. The thesis of this article is: narrator - Seweryn Soplica - is Henryk Rzewuski's pseudonym; a pseudonym which allows him to better and more effectively describe the presented, but the already non-existent Sarmatian world of the 18th century.Item Poznanie dramatyczne(Wydawnictwo Naukowe UAM, 2004) Krajewska, AnnaThe author describes the problem of dramatic cognition against the background of the concept of the dramatic model of literary studies arising from this discipline's own uncertainty about its research procedures, changes occurring within the literary theory discourse and the mechanisms of the theory of cognition concerning the cognition of art and the world. The author discusses application of the category of drama in the modern theory of literature. She also emphasises the fact of unsovability and transgression connected with the theatrical executive instruction of the drama, making it possible to show the play between the reality and the fictionality of the world expressed in the toposes of "theatre-picture", "theatre-figure of the world" and the model of "theatre without the world". The author also adduces the epistemological metaphors of the lamp, the mirror, and the screen.