Przestrzenie Teorii, 2010, nr 14
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Item Próba artykulacji(WYDAWNICTWO NAUKOWE UNIWERSYTETU UAM w Poznaniu, 2010) Sztaba, WojciechWitkacy’s Pure Form expresses the metaphysical essence of art. On the one side, it symbolizes the structure of the world, the unity in plurality (which is demonstrated in the picture’s composition) and, on the other, the notion deals with the processes of creating and perceiving an art work. The moment in which the self feels itself embedded in the wholeness of the world is the moment in which the metaphysical feeling arises, and in which the experience of art is fulfilled. Witkacy provides many examples for situations evoking this feeling. He describes them in his novels, he finds synonyms as suchness, curiosity of existence, mystery of being or unity of identity, he switches from scientific to poetic language. And he emphasizes that this feeling, while defying verbalization, is a real, not a supernatural one: a psychophysical phenomenon accessible to introspection, and inseparable from one's cultural and individual background.Item „Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką(WYDAWNICTWO NAUKOWE UNIWERSYTETU im. Adama Mickiewicza w Poznaniu, 2010) Okołowicz, StefanPolemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.Item Przekład(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Conio, Gérard; Zdzisław, Hryhorowicz (Tł.)Item 1. Spis treści(Wydawnictwo Naukowe UAM w Poznaniu, 2010)Item Deformacja, rzeczywistość i "Szewcy"(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Ziomek, JerzyItem Personalne dossier dramatów Witkacego(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Ziomek, JerzyItem „Witkacy rzucił się jak szczerbaty na suchary”. Witkiewicz w czasie pierwszej wojny światowej(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Okołowicz, StefanThis text is a polemic with an article by Maria A. Potocka “Ja” jako materiał twórczy [“I”as a material for creation]. When considering the problem of the presence of Witkacy in the Tsarist army, the author comes to a conclusion that Witkiewicz went there where he did not intend to go, misled by inaccurate information. The choice of the Russian opportunity based on incomplete or untrue information and unsuccessful coincidences – according to the author – should be considered in the categories of Witkacy’s personal tragedy no matter what significance this fact gained later.Item Witkiewiczowie w Lovranie(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Bocheński, TomaszThe essay explores a theme of differences between the two Witkiewiczes – father and son. These disparities concern lifestyle, ethics, politics and art. The father wanted his son to realize his own ideas of art. In the son’s opinion the father’s idea had failed and in turn he invented an even more radical aesthetics. Lovran is a place where the basic categories of Witkacy’s theory of Pure Form were formulated.Item Próba rekonstrukcji pierwotnej kolorystyki papierowego podłoża portretów Witkacego(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Zgodzińska, BeataIn the years 2005–2006 at a Restoration Workshop of Muzeum Pomorza Środkowego [Museum of Central Pomerania] in Słupsk, Witkacy’s portraits were framed in a new passe partout and glass pane. Based on the photographs taken then of fragments on which the colour of the paper ground was preserved, a computer reconstruction of the original colour of the paper was made. Comparison of the portraits with their probable original versions allows to risk a claim that nowa-days we have to do with totally different pictures. The colour of the paper has changed consider- ably, e.g. from its initial violet it has turned into grey-beige. Equally big changes can be observed between the reverse and the face. When framing the portrait, restorers found an unfinished portrait on the reverse. The examples presented in this work show how important for the knowledge of the artist and his work is drawing attention to a single work of art, which is best to study directly and not through its reproductions or studies on it.Item Witkacego próba podmiotu – podmiot na próbę(2010) Górska, IrenaIn the article Witkacego próba podmiotu – podmiot na próbę [Witkacy’s Attempt at a Subject – a Subject for a Test] the subjective identity of S.I. Witkiewicz is characterised by means of the widely understood category of a trial. This latter is interpreted from the view of theatrical aesthetics, but also philosophy, enables to show the biography and oeuvre of the artist from Zako-pane as a continuous game between constructing and deconstructing of the subjective identity. The category of subjectivity becomes here a tool of revealing of the mechanisms, making it possible to remove boundaries between art and life, reality and fiction, literature and theory. Whereas in the interpretation proposed this attempt appears as a very literally understood experiencing of oneself, “putting oneself to the test”, but also as an attempt at literature (in the area of theory) and an attempt at theory (in the area of literature).Item Udręki edukacji (Metafizyka dwugłowego cielęcia Witkacego)(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Wąchocka, EwaIdentity crisis, one of the crucial problems tackled by Witkacy in his dramas, is linked first of all with the tradition of modernism by critics. The author of the article suggests a change in the viewpoint, and basing on the analysis of Metaphysics of a Two-Headed Calf presents that problem in the perspective of contemporary discourse concerning identity. The problems that Witkacy’s characters had with their own existence are in consonance not only with today’s quite common conviction that individuals can experiment with their own feeling of identity relatively freely, but also with the concepts of individual ego, that function within social sciences. The tools developed by social sciences allow to have a different perception on the relation between the processoriented/ process-driven nature of identity (self-creation of the ‘I’, game, mystification) and the conviction that its borders are delineated by the cultural pressure and social discipline. In Metaphysics of particular importance are the relations with parents, with the family – representing society – as well as constructions of double-gangers (Doppelgänger) that reveal the subject as the Other, or deprive the subject of its ‘individual-ness’ undermine her/his individual (subjective) status. The diagnoses of Witkacy are quite close to the contemporary ways of conceptualization of the ‘I’, which – as Lacanian psychoanalysis, Foucault’s constructionism – negating the subjective power to cause, do not confine themselves to unmasking the pressure of institutionalized forms of life, and reveal their activity even at micro-level.Item „Stargana za trzewia publiczność opadła jak jeden flak”. Witkacego spektakle potencjalne(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Gondowicz, JanWitkacy’s well-known Pure Form in Theatre Theory constitutes, from the logical point of view, a sequence of paradoxical definitions and surrealistic examples. It is, undoubtedly, a premeditated tactics of the Author. Witkacy deliberately aspired to make a mess in the reader's (or, in fact, implied spectator’s) brain, and discreetly intervowen in principal specimen’s content own anthropological experience, collected in an Australian expedition. Finally, in the visionary novel Insatiability, Witkacy smashed up his concept of metaphysical theatre, impossible in the future stupefied societyItem Przestrzeń barwna Czystej Formy. Kolor w teorii i praktyce twórczej Stanisława Ignacego Witkiewicza(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Żakiewicz, AnnaColour was a very important problem in the whole work of Stanisław Ignacy Witkiewicz. Not only a whole chapter of his basic theoretical work Nowe formy w malarstwie (New Forms in Painting, published 1919) was devoted to that but the artist also examined his theory in practice executing many paintings presenting his ideas (e.g. Self-portrait, 1913, Portrait of Feliks Lewiński, 1917, Portrait of Maria Witkiewiczowa, 1918 and many others). A base for that was a harmony of complementary colours: green and red, blue and orange, violet and yellow. Many theorists before Witkacy were interested in that: Wolfgang Goethe, Philip Otto Runge, Wassili Kandinsky. The artist didn’t mention them in his deliberations but a psychologist, Hermann Ebinghaus (Grundzüge der Psychologie, 1897) and other artists only: Paul Gauguin and Pablo Picasso. Witkacy even copied one of Gauguin’s paintings, Te Arii Vahine and described it in his writings as the best example of Pure Form. Witkacy enthusiastically described Picasso’s paintings in his first novel 622 upadki Bunga (622 Downfalls of Bungo, written ca. 1910, first published 1972) and mentioned many times in his theoretical works. The artist appreciated also Georges Seurat’s paintings and his thoughts on colours. Witkacy himself created a detailed system presenting the best colour schemes and described many compositions corresponding to that. In 1938 the artist wrote an article O istocie malarstwa (On the Essence of Painting), which was an opposition to his earlier thoughts. In the end of his life the artist decided that the most important was imagination instead of theoretical rules.Item Witkacowskie raje(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Tomassucci, GiovannaThe studies on Witkacy’s oeuvre Narcotics (Narkotyki, 1932) exist without any specific status, as if reduced to a research element ancillary to other “more serious” creative areas of its author. The above is especially astonishing since they belong to a specific literary genre which was started with De Quincy’s Confessions of an Opium Eater (1821) and became really successful in the 19th and 20th centuries, with Baudelaire, Cocteau, Artaud, Huxley and many others. Witkacy was the first Polish writer who addressed the issue of drug addiction and wrote explicitly on the role of narcotics in artistic creation. He experimented with cocaine, mescaline, peyotl and discovered “the magic peyotl” in the same years as A. Artaud and W. Benjamin, and many years before Huxley. He was also one of the few writers who, after having experimented with drugs, began to deal with the theory of narcotics. The use of opium, cocaine, dawamesk also became a sort of caricatural form in many of his works from Cuttlefish (Mątwa) up to the novel The Only Way Out (Jedyne wyjście). The aim of my work is to try to answer several questions: In what way does the author’s interest in the addiction of Unwashed Souls (Niemyte dusze) fit into the 19th and 20th century debate between doctors, writers and European artists? Can Witkacy’s literary and dramatic work demonstrate that he was familiar with publications on pharmacology (published in Germany and France in the 20s) and also with the authors who were writing about drugs in the 19th and 20th century? How does his prohibitionist point of view fit with his historiosophy? Can Narcotics be considered a literary work? I have also tried to determine the anonymous sources quoted by Witkacy and co-authors of Narcotics, B. Filipowski and S. Glass (pen name of Dezydery Prokopowicz).Item Muzyka jako Sztuka Czysta. Stanisław Ignacy Witkiewicz i Konstanty Regamey(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Sokół, LechIn Witkacy’s aesthetics, the problem of the essence, function and status of music in the system of pure arts has never been finally resolved. Many important questions remained unanswered. In spite of numerous announcements, Witkacy never developed a theory of music. To an extent, this work was unexpectedly carried out by Konstanty Regamey (Constantin Regamey, 1907–1982), Polish-Swiss composer, critic, theorist of music, linguist and India specialist, who for some time was a friend of Witkacy and admitted to being associated with the latter’s aesthetics. In 1933 Regamey published a study Treść i forma w muzyce [Content and Form in Music] which on a number of points follows closely not only Witkacy’s ideas but even his stylistics. In my opinion, yet another essay by Regamey should be taken into consideration in sketching relations between his and Witkacy’s theories of music; it is Próba analizy ewolucji w sztuce [An Attempt at Analysis of Evolution in Art]. The inclusion of these and other issues relating to music in a more detailed discussion of Witkacy’s aesthetics allows us both to understand this aesthetics better, and to dispel some of the hastily made and still unanswered criticisms.Item „Piekło edytora”, czyli o listach Witkacego do żony(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Degler, JanuszS.I. Witkiewicz’s correspondence with his wife, Jadwiga née Unrug comprises 1278 letters, postcards, picture postacards and telegrams, which were written from 21 March 1923 to 25 August 1939. This is an exceptional evidence of the complicated emotional bond of these two people, whose marriage suffered difficult moments, but still stood the test of time. It is also an invaluable source of information on Witkacy’s life and work and at the same time an authentic psychological document showing the unusual personality of man and artist. Preparation of the critical edition of the letters is an exceptionally complex task, performing of which can be metaphorically described as going through “the editor’s hell”. The author discusses the most varied difficulties (“circles of the hell”), which pile up before the editor of this correspondence.Item Witkacy i antybinarna teoria tekstu(Wydawnictwo Naukowe UAM w Poznaniu, 2010) Krajewska, Anna