Przestrzenie Teorii, 2009, nr 11

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    Literatura i Biblia. Filiacja niemożliwa
    (Wydawnictwo Naukowe UAM, 2009) Hillis Miller, Joseph
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    Spis treści
    (Wydawnictwo Naukowe UAM, 2009)
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    Porównanie relacji pamiętnikarskich z zesłania na Syberię Fiodora Dostojewskiego i Szymona Tokarzewskiego
    (Wydawnictwo Naukowe UAM, 2009) Wilkołaska-Karpierz, Magdalena
    The study contains a comparison of diarist's relations from exile to Syberia of Fyodor Dostoyevsky and Szymon Tokarzewski. The subject of analysis are diaries of the Polish exile, mainly Siedem lat katorgi (Seven years of penal servitude) and Fyodor Dostoyevsky's famous The House of the Dead. The author compared an image of Siberia and its inhabitants contained in both relations, a descrption of the ordeal itself and the relations between Dostoyevsky and Tokarzewski, submitted to detailed analysis, at the time when both of them were in exile. The subject of this work is also the artistic shape of both works. The article reminds of the relatively little known works of Szymon Tokarzewski to which a comparable space was devoted as to that of Dostoyevsky.
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    Świadectwo obrazu. Związki ekfrazy i pamięci w Zobaczonym Julii Hartwig
    (Wydawnictwo Naukowe UAM, 2009) Telicki, Marcin
    In the article The evidence of the image..., the author reflects on two important problems in modern culture: considers the role of ekphrasis - the introduction of which connotes the concepts of iconicity, vividness and representation; and memory processes derived from descriptions of pieces of painting (but also views of nature). It appears that the change in time, that introduces changes to the perception, is shared by the two phenomena. Theoretical considerations are developed and legitimised by interpretations of poems from the volume Zobaczone. In her poetry, Julia Hartwig, sometimes considered as one of the Old Masters of poetry, very consistently combines interest in the visuality of the world and problems of recording continuity. Hence, it is advisable to analyse her poems as a play between the elusive image and its material evidence.
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    Ciało i gender w obozach zagłady
    (Wydawnictwo Naukowe UAM, 2009) Karwowska, Bożena
    The article Body and Cender in Nazi Concentration Camps is an attempt to discuss difficult issues of human sexuality and sexually marked behaviors in the context of the concentration camps, and their descriptions in the memoirs of the survivors. Using notions and concepts of the so called "black American feminism" the author (referring extensively to books by Stanisław Grzesiuk and Zofia Romanowiczowa) shows how in the concentration camp the human body became the only space of a relative privacy of the prisoner. At the same time the body becomes a territory on which all - both biological and socially constructed - human fates cross.
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    Esej i ekfraza (Herbert - Bieńkowska - Bieńczyk)
    (Wydawnictwo Naukowe UAM, 2009) Sendyka, Roma
    Michel Riffaterre in article L'lllusion d'ekphrasis put forward an idea of "critical ekphrasis" (1994) what may become an invitation to ask if other sub-genres/modes of ekphrasis may be described. The text Essay and Ekphrasis develops this question in the field of essayistic traditions. Evoking the tendency of writing on art in that genre (from Montaigne, Diderot, Ruskin, Pater to art historians, critics and artists) the article analyses three examples of ekphrases (by Zbigniew Herbert, Ewa Bieńkowska and Marek Bieńczyk) to voice a hypothesis that ekphrasis in an essay may be a useful proof for those who question (ostensive) representational powers of that textual tool. Essayistic ekphrasis seems to have a foremost referential character, pointing towards an object of art only to use it in order to describe cognitive procedures of the subject who in such a way (performatively and not overtly) pictures himself mirroring his inner self in dispersed fragments of cultural object, dismantling the temporal and spatial difference between the viewer and the object in an illusion of an immediate presence. 1.
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    Ocalić tajemnicę - specyfika inscenizacyjna teatru tańca Piny Bausch
    (Wydawnictwo Naukowe UAM, 2009) Roszak, Monika
    In the article are presented the fundamental determinants of the style of the theatre of Pina Bausch. Tanztheater Wuppertal performances delight with their totality and originality (stage design, costumes, the musical layer, textual layer). Montage, collage, acting based on improvisation - these are the means which are the pillars of Bausch's theatre. Tanztheater Wuppertal performances have reformed the modern ballet and created a new kind of performance based - apart from dance, movement and pantomime - on the realistic activities, routine behaviours, dialogues and singing
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    Muzeum sztuki - miejsce wizualizacji nowoczesności
    (Wydawnictwo Naukowe UAM, 2009) Popczyk, Maria
    Art museum is a space of visualisation of myths and narration of modernity, combines in itself rationality with emotionality, thus provides ambivalent experiences to the audience. Critics of museums such as D. Preziosi present the negative side of the Enlightenment rationality: objectification of artworks and of the subject, building of scientific constructions acting for authorities. In turn, theoreticians who are favorably disposed towards museums such as O. Marquard or A. Huyssen convince that the museum in modern times performs a compensatory role, and its postmodern form allows a magnitude of histories and aesthetics. However, it was ultimately j.-F. Lyotard who becomes its patron, since artist choosing museum for their activities resist the established thought, realising Lyotard's idea of justice as a dispute.
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    Polonistyczny dyskurs edukacyjny (tezy)
    (Wydawnictwo Naukowe UAM, 2009) Sobolczyk, Piotr
    The article raises the status of the literary scholarship for school discourse (in a specifically Polish context, but it can be generalized for all school communication about literature). It rejects the vision of a "minimized scientific literary scholarship discourse". This discourse is seen as wholly different, because it transports the scientific prototypes (understood in a cognitive manner) selectively and with a big delay, but also it combines them with the prototypes derived from the ethical (moral) and political discourses (like f.e. the ministerially programmed list of literary works for school). The author debates the question how to introduce the scientific prototypes from zero, how to construct a school synthesis of literary history and whether it is possible to avoid the technique of a "school heuresis" (i.e. asking questions which include answers in them etc.).
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    „Paradoks kłamcy" w perspektywie hermeneutycznej
    (Wydawnictwo Naukowe UAM, 2009) Choińska, Bogna
    The aim of my article is to present "the liar's paradox" from a non empirical perspective of the language. The paradox may be as though "resolved" (but in just another way then it is done within the semantics view by Tarski), among other things, thanks to Lacan's psychoanalysis. Namely "the liar's paradox" which is connected with a division between a statement and an enunciation is treated by Lacan as accompanying a subject during his (her) process of gaining a certainty about himself (herself) and about the world and as impossible to overcome in a traditional way. The problem of "liar's paradox" mayby merely suppressed. An attempt of suppressing of a nonsense took place, according to Lacan and Foucault, within the area of "Meditations" by Descartes and maybe more in theirs modern interpretations. The non empirical proposition of an elimination "the liar's paradox" consists in an acceptance of the madness (as defined by Foucault) and at the same time in staying in a surface of some texts. This strategy does not allow to divide talking in two: the language and the meta-language. Moreover 1 try to discuss with Żiżek concept concerning with an incomprehension this problem (mainly the usage of the meta-language) by Derrida.
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    Panny z prowincji. Ze wspomnień cyklisty Bolesława Prusa wobec mitów miłości
    (Wydawnictwo Naukowe UAM, 2009) Zalewski, Cezary
    The article places the now forgotten short story by Bolesław Prus Ze wspomnień cyklisty in the mythological and metaliterary context. The prevalent role of amorous plots in this work thus becomes explained through a reference to the myth of Androgyne, solidified in Plato's Feast, that permeated Polish literature following the Romantic (A. Mickiewicz's Forefathers, Part IV) and modernist works (S. Przybyszewski's Androgyne). The article shows Prus's critical attitude to thus outlined tradition, which assumes a direct and spontaneous nature of amorous desire, since the story's protagonist only "falls in love' when other suitors appear with whom he can compete for women's favours. At the same time, the deconstruction of the androgynous myth reveals yet another concept of desire. Hence the text meets the requirements of the "constructive parody" described by M. Głowiński.
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    Ikoniczność i ucieczka od referencji (na przykładzie filmów Zbigniewa Rybczyńskiego)
    (Wydawnictwo Naukowe UAM, 2009) Wysłouch, Seweryna
    The concept of reference comprises three different ways of expressing reality: simulation, representation and transformation, and it is just from this point of view that I analyse Rybczynski's films from the years 1976-1990. Rybczyński was always against registration of reality and wants to present on the screen "mental pictures", i.e. that which exists in our thoughts, fantasies and dreams. He submits reality to grotesque deformation (Święto [Holiday], 1976), destroys iconicity of the text through playful metaphor (Lokomotywa (Locomotive) based on J. Tuwim's poem, 1976), creates on the screen surreal situations (Tango, 1980) and shows transformation of people and things (The Fourth Dimension, 1998). However, "mental pictures" also contain conventional cultural symbols, which are distinctly shown in Orchestra (1990). Therefore, lifting references leads into the world of signs and signs refer to the social experience, history and European culture. Through signs we reverse to the representation of reality.
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    Czytanie jako (prze)grywanie
    (Wydawnictwo Naukowe UAM, 2009) Krajewska, Anna
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    Umberto Eco - autobiograf?
    (Wydawnictwo Naukowe UAM, 2009) Lubas-Bartoszyńska, Regina
    This text shows that U. Eco is an autobiographer in only some sense of the word. He has not written an autobiobiographical text in which he would present a segment of his life. However, he told the history of his novelistic work and presented his intellectual train of thought in his essays, interviews, introductions to his works. There also exists an indirect autobiographism in Eco, which expresses signs of the author's life and of his personality dispersed in his interpretative and theoretical writings on literature, aesthetics, history, in his feuilletons and in his novels. Five types of autobiographism have been distinguished in Eco as well as five autobiographical strategies within the indirect autobiographism. The first strategy - a strong presence of autorial I in the text - is not sufficient and requires support of some other of the strategies discussed.
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    O Sponad Juliana Przybosia i Władysława Strzemińskiego
    (Wydawnictwo Naukowe UAM, 2009) Jaworska, Anna
    Julian Przybos's poetic volume Sponad [From Above] with artwork by Władysław Strzemiński is not a rewarding material for an interpretation since due to the tight coupling of the two remarkably powerful artistic personalities and the two kinds of sensitivity - literary and that of an artist, an analysis of poetic works in the shape given to them by an artist must be tainted with the latter's views and must contain in itself interpretational doubleness. Thanks to graphic layouts and illustrations made by Strzemiński, the space of the poems became palpable and visible. Thus, not only individual words were extracted and emphasised, but also the "inter-words" somewhere between them, stating what was only implied or unstated. Strzemińskim layouts conceal in themselves a set fuse for a bomb which poetry, exploding with new layers of meaning, may become.
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    Ekfraza jako bohater parodii (o kilku wierszach Olgerda Dziechciarza)
    (Wydawnictwo Naukowe UAM, 2009) Grodecka, Aneta
    The appearance of the parody of poetic ekphrasis is an important argument in disputes concerning its status. The author considers Olgerd Dziechciarz's collection of poems Galeria "Humbug" [The "Humbug" Gallery] as a missing link of reconstruction of the genre, referring to her own studies conducted as a post-graduate work Wiersze o obrazach. Studium z dziejów ekfrazy [Poems on pictures. A study in the history of ekphrasis] (in preparation). In the course of the analysis the author referred to paintings (H. Bosch, P. Cezanne, Michelangelo), other poetic commentaries of C. Miłosz, A. Stern as well as studies on art (among others D. Freedberg, F. Arnau), considering mainly the problems connected with the reception of pictures.
Uniwersytet im. Adama Mickiewicza w Poznaniu
Biblioteka Uniwersytetu im. Adama Mickiewicza w Poznaniu
Ministerstwo Nauki i Szkolnictwa Wyższego