Przestrzenie Teorii, 2009, nr 12
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Item Ewa Szczęsna, Poetyka mediów. Polisemiotyczność, digitalizacja, reklama(Wydawnictwo Naukowe UAM, 2009) Wysłouch, SewerynaItem Lehrstücke jako performance Moje doświadczenia ze „sztukami dydaktycznymi” Bertolta Brechta(Wydawnictwo Naukowe UAM, 2009) Wirth, Andrzej; Dobrowolski, Piotr (Tł.)Item Hölderlin Heideggera: cezura i chiazm(Wydawnictwo Naukowe UAM, 2009) Arne, Melberg; Szewczyk-Haake, Katarzyna (Tł.)Item Nowoczesne antynomie. Uwagi o nowych odczytaniach poezji Bolesława Leśmiana(Wydawnictwo Naukowe UAM, 2009) Winiecka, ElżbietaThe article presents two poles of reflection on modernity of Bolesław Leśmian’s poetry. On one side can be placed the standpoint of researchers who saw in this poetic work mostly the realisation of the myth of return to primaevality (M. Głowiński, Z. Łapiński), whose consequence would have to be such a conception of poetic language in which a word personalises an object. On the other side appear voices (M.P. Markowski, R. Nycz) which expose the mediatory role of language as a place of birth of the sense of reality, incomplete without the creative activity of language. In this way two views clash: of poetry as a space of retrieving of authenticity and as a way of revealing (creating) new states of existence of the world. At their intersection can be placed the third interpretation (A. Skrendo) in which the poet is fully aware of the antinomy between his own poetic project and impossibility of its realisation. Reaching for Leśmian’s antiessentialistic conception of the subject and reality, we can recreate in his works the way leading to utopian dreams of the immediacy of communication to the fully aware inevitability of failure of any attempts which are to lead to the set goal. It is just this last pessimistic statement which is a foundation of the poetic worldview of the poet which defines the remarkable status of this poetry in the perspective of studies of modernity.Item Fenomen narracji litanijnej wobec stereotypu gatunkowego litanii(Wydawnictwo Naukowe UAM, 2009) Sadowski, WitoldThe article describes the phenomenon of narration in the litany, where the specific events are presented as units of the divine plan in the superior and impenetrable order, accepted by the compiler of the prayer. The phrases describing the events do not link together in a consecutive chain, but are interrupted by the repeated formulae of the prayer, on which they depend syntactically. According to this, the text of the litany does not report the holy story from anyone’s point of view. Each event undergoes the substantialization, it acquires a value, and its description can be used as an epithet or a periphrasis of the name of God, Virgin Mary, the angel or the saint. The story should be independent of the time, and the experience of the holy event is to be accessible to the faithful. Sometimes the story needs not to be explicated, because the text of the litany is already embedded in the ‘hermeneutic sphere’ (the term by S. Balbus) of the litanic genre. The technique of the narration in litany has been taken over by the poetry. The example of Jarosław Iwaszkiewicz’s epilogue to the poem Jeszcze jedna podróż (One more journey) published in 1963 is presented in the article. ZnacznaItem Znaczenie listu w malarstwie XVII i XVIII wieku oraz w ówczesnej powieści epistolarnej(Wydawnictwo Naukowe UAM, 2009) Słodczyk, RozaliaThe aim of this paper is to analyse and interpret the importance of the letter in the 18th century epistolary novel and the 17th and 18th century painting. The article presents properties and functions of the letter that made it attractive to the literature and painting of that time. The focus is also on social and cultural context relevant to the discussed matter. Furthermore, the paper examines the form and content of the novel and painting in question, including the specific ways and consequences of the employment of the letter by these disciplines. Finally, the problem of illusionism is considered.Item „Meir Ezofowicz” w cyklu ilustracji Andriollego(Wydawnictwo Naukowe UAM, 2009) Imperowicz-Jurczak, MałgorzataThe article concentrates on the issues of the cycle of illustrations by Elwiro Michał Andriolli in Eliza Orzeszkowa’s Meir Ezofowicz as a work of art of the second half of the 19th century, an excellent inter-semiotic translation of literature into the “image rhetoric”, and an example of a turn in the artistic work style – from romanticism, preferred by the artist, to social realism. Wood engravings were made by the graphic artist with both artistry and kindliness towards the author and the subject matter of the novel. Andriolli’s thorough artistic interpretation fills in the book’s unsaid parts, highlights the meanings that the writer was not allowed to touch upon in the novel because of the censorship, e.g. he showed the centuries-old relationships between the Jews and the Polish in the context of the loss of statehood. In the cycle, the graphic artist recorded the collective portrait of the Jewish community, depicted their cultural richness and internal problems (concerning economy, religion and identity).Item Bertolt Brecht? „Il n’y a pas de hors-texte”(Wydawnictwo Naukowe UAM, 2009) Karasińska, MartaWith his theory of the epic theatre and its most important category V-Effekt, Bertolt Brecht can be included within precursors of the current of modern reflection on discourse, crisis of representation and transitivity of that which is literary with that which is theatrical, the stage character of the text and textuality of the stage. Disproving of the role of mimesis, the importance of quotation and repetition as rudimentary acting strategy, replacement of great narrations with a fragment, joining a work and a commentary, intertextual games, metatextuality and metatheatricality as a foundation of stage aesthetics encourage us to locate Brecht’s theatrical output in the context of reflection of Deridda, Foucault and Barthes.Item Rękopis „Kartoteki”(Wydawnictwo Naukowe UAM, 2009) Solski, Zbigniew WładysławAt the beginning of the 70s Tadeusz Różewicz presented the manuscript of Card Index to Professor Józef Kelera. It might have stayed a secret of friendship of the dramatist and the critic, however, Różewicz revealed the initials of his friend when in a commenatry to the play, he posed a question, whether there was a full stop after the last word in the manuscript or not? Posing this question, the author claimed the integrality of his masterpiece which was threatened by the widespread interpretations of Card Index as a play of a loose and dispersed structure. Appreciating the value of this question, I turned to Professor Kelera. This way I have had an access to the autograph of the play. In this manuscript has been preserved the play from before its final editing, which its author must surely have made during typing the text. Handwritten notes contain two unknown versions of the play with fragments which would not have been passed by the censors in the then Polish People’s Republic. In the reading of the manuscript the functions of the word and its graphic shape appeared of equal importance, so this version of Card Index can be recognised as a masterpiece of literature.Item Biografia sztuki literackiej. Próba rekonstrukcji projektu literackiego Tadeusza Kantora(Wydawnictwo Naukowe UAM, 2009) Górska, IrenaIn universal consciousness, Tadeusz Kantor is an artist of theatre, painter, creator in other fine arts, but also author of a great number of writings on aesthetics, manifestos, sketches, essays, notes from rehearsals, dramatic scores and of some poems. What is characteristic is that various forms of writing, which by assumption are a theoretical expression of Kantor's ideas on theatre or fine arts, at the same time obtain a character of a literary work while his verses direct one towards theory. Painting, theatre and ideas connected with them are supplemented in the act of writing, which becomes a necessity for Kantor. The author of Dead Class changes the theatrical project into a literary project and in his writing he intermingles drama, commentary, theatre, his own theoretical and biographical reflections, observations of a masterpiece and states of his own consciousness. He plays theatrical ideas not only on the stage but also in theoretical texts and in verses. It is just in writing that the artist from Wielopole establishes anew the relations between theatre, literature and his own biography.Item Inne lustra. Pseudonarcystyczne reprezentacje w utworach Haliny Poświatowskiej i Wisławy Szymborskiej(Wydawnictwo Naukowe UAM, 2009) Zalewski, CezaryThe article analyses and compares two poetical texts written by women. The texts use a motif of a mirror in both literal and metaphorical way. The author compares H. Poświatowska’s and W. Szymborska’s poems to question traditional twentieth-century reception of Narcissus’ motive. The proposal that arises is to see this motive as an illusion. Any woman that watches herself in a mirror does not seek just for her sight, but also for a sight of “an other” – a man. Quoting these gives, in the author’s opinion, an argument to say that a woman watching her reflection is not able to converge the mythical Narcissus’ archer. Appearance of a man that was sought mediates the act of self-contemplation in which one that was watching gets an access to herself by both body and mind aspect. The access is possible only under a condition of “sight of an other” mediacy. The subject in women’s lyrics is liable and dependent on what can be seen as a typical feature of its modern version. This liability and dependency is being carefully masked in lyrics written by men that explore the myth of Narcissus.Item O „Sobie”, eseistyce, Lambie i Brzozowskim(Wydawnictwo Naukowe UAM, 2012) Sendyka, RomaBy introducing the theory of the self to modern disputes on identity and subjectivity in the literary text, the article retells contemporary discussions on theory of the self from the Chicago school of symbolic interactionism (G.H. Mead) through its development in social psychology (E. Goffman) to postmodern compelling ideas of A. Giddens, M. Foucault, J. Glass, K. Gergen, J. Baudrillard and Z. Bauman. This retelling is generated by the question whether the social sciences’ analysis of a subject can be useful in literary studies, traditionally relying on philosophical debates about the identity of a person. The main area of observation becomes modern Polish essay, with the specific example of Stanisław Brzozowski’s last completed essay, the one on Charles Lamb. The text proposes an idea of recursive subjectivity based on the structures of the self – social, interactive, and reflexive.Item „Estetyka re-”, czyli kartki wydarte z pisma(Wydawnictwo Naukowe UAM, 2009) Krajewska, AnnaItem Spis treści(Wydawnictwo Naukowe UAM, 2009)Item Od „Zarysu teorii nonsensu” do czystego nonsensu w życiu codziennym(Wydawnictwo Naukowe UAM, 2009) Obremski, KrzysztofContrary to common conviction, which treats pure nonsense and logic as a relation of incompatibility and incongruity, it is the relation of contiguity that appears to be fundamental for the principle of the paralogic of pure nonsense. Like in the poetry of nonsense also even nonsensical jokes or absurd situations appear to be peculiarly logical (i.e. paralogical). Studies of metaphor and panegyric seem to be this trope, which most closely leads to the goal which is a theory of literature view of pure nonsense.Item Rozlewność mistyczna, czyli o epifanii i symbolu w powieści wczesnomodernistycznej nieco inaczej(Wydawnictwo Naukowe UAM, 2009) Grzyb, KatarzynaThis article is focused on an epiphany in the novel during the period named “the early modernism”. It shows a different perspective onto aesthetics of the novel, “aesthetics of scream”, because epiphany as a cognitive process related to a symbol is presented there and it brings explanation, why every symbol is an epiphany, but every epiphany is not a symbol. In cognitive experience both as a symbol and an epiphany take place perception and insight.