Przestrzenie Teorii, 2011, nr 15
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Item 1. Spis treści(Wydawnictwo Naukowe UAM, 2011)Item Imiona pustki w poezji współczesnej(Wydawnictwo Naukowe UAM, 2011) Lubas-Bartoszyńska, ReginaRecenzja książki Stanisława Jasionowicza - "Pustka we współczesnym doświadczeniu poetyckim", Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, Kraków 2009.Item Masochizm i estetyka. O nowych kulturowo-psychoanalitycznych interpretacjach twórczości Brunona Schulza(Wydawnictwo Naukowe UAM, 2011) Lukas, KatarzynaRecenzja książki - Janis Augsburger, Masochismen. Mythologisierung als Krisen-Ästhetik bei Bruno Schulz, Wehrhahn Verlag, Hannover 2008, ss. 344.Item Masochizmy. Mitologizacja jako estetyka kryzysu w twórczości Brunona Schulza(Wydawnictwo Naukowe UAM, 2011) Augsburger, JanisThe study Masochisms. Mythologizing as an Aesthetics of Crisis in the Work of Bruno Schulz, parts of which have been translated below, presents the thesis that in the work of B. Schulz the phenomenon of mythologizing is connected with masochism – a concept conceived of as a historical, cultural and aesthetic interpretative category. The combination of the two phenomena makes it possible to notice some relationships between Schulz’s literary and graphic works which have not been recognized yet. The author discusses some psychoanalytical, sociological, historical and philosophical notions of masochism applicable to a literary text. She tries to describe the “masochistic aesthetics” appearing in Schulz’s short stories (on the narrative level: lack of motion, suspense, tension) and in his graphics (theatricalization, lack of eye contact between the figures) and shows how this aesthetics integrates the prose of Schulz, his Idolatrous Book and his illustrations for the short story The Book.Item Pod powierzchnią świata, poza historią – ku kontrhistorii odpadów i ziemi jałowej(Wydawnictwo Naukowe UAM, 2011) Williams, DavidThe article is a collage of texts concerning the phenomena of waste in context underworld, underground and underhistory. Starting from environmentalism, cultural studies, sociology and psychoanalysis, the author moves towards a wide array of contemporary art practices. ‘Garbage’, ‘trash’, ‘refuse’, ‘waste’ and ‘rubbish’ are presented as complex and ambivalent metaphorical terms employed to organize and legitimize the parts of life normally desired to be overlooked. Waste: the excessive remainder of production and consumption, detritus of that which is deemed ‘use-less’ in ‘progress’; the informe material that has been reappropriated and recycled in countless artworks since the collages of Cubism, Dada and Surrealism’s détournements of objets trouvés. The author goes deeper: in order to present a global consciousness, he introduces a spectrum of artists and art works concerned with waste’s constitutive presence in and implications for contemporary landscapes, both literal and cultural. His description includes land artists, environmental artists, activists and conceptualists, such as Alan Sonfist, Agnes Denes, Agnès Varda, Edward Burtynsky, Maurizio Cattelan, and Mierle Laderman Ukeles.Item Fenomen czwartego wymiaru w twórczości Jerzego Kuci(Wydawnictwo Naukowe UAM, 2011) Grodź, IwonaThe article is an attempt to look at all the achievements of the Polish filmmaker – Jerzy Kucia – through the prism of his last work, Strojenie instrumentów/Tuning the Instruments (2000). The author points out that all the director’s previous projects, starting with the debut of 1972 Powrót/Return until Refleksy/Reflections from 1979 through Przez pole/By the field from 1992, showed a very clear development of the creative personality of the artist, who claimed that the “close up” on their own topics is the result of heightened self-awareness and is a great effort to promote himself again and again. In the analysis of the film Strojenie instrumentów/Tuning the Instruments, the author refreshes old and new contexts of interpretation, coupled with the commitment issue, which is a metaphorical return to the past. A question about the essence of the functioning of consciousness leads the author to delve into the phenomenological concept that we find in contemporary theories of psychology of perception.Item Interpretacja i konsumpcja(Wydawnictwo Naukowe UAM, 2011) Rychlewski, MarcinThe author discusses some theoretical problems associated with the description of the modern book market. In particular, he is interested in the release notes and book covers in the context of the literary categories of interpretation and reception. He postulates that the marketing practices of publishers should be called a “manipulative interpretation”, insofar as the information about books and book covers fulfills a double function: that of advertising and affecting the reception of the text. Referring to the two types of interpretation, “exegesis” and “usage”, he believes that the discussed phenomena fall between these two extremes. Both the release notes and book covers are the domain of a limited “usage”, the accuracy of which verifies the market.Item „Podsłuchać muzyczny motyw”. O cyklu muzyczno-poetyckim na przykładzie Muzyki wieczorem Jarosława Iwaszkiewicza(Wydawnictwo Naukowe UAM, 2011) Reimann, AleksandraThe article compares the cyclic form in music with the poetic cycle. The analytico-interpretational identifying of two sub-cycles: “Music for quartet” and “Music for orchestra”, which make up the volume, helped to formulate the interdisciplinary proposition of terminology: the music-poetic cycle, which in literature also implies musical order. A reading dictated by musical expectations towards the verses touches upon many issues, such as song forms (AB, but also Lied), dynamics, intonation, phonemic assembly, the occurrence of motifs. Texts, which usually have musical titles allow comparative interpretations. The volume on poetry by Iwaszkiewicz is an example of music-literary complementarity, which must be respected, if the cycle is to be understood fully.Item Znaki misterium w liryku Zbigniewa Herberta pt. U wrót doliny(Wydawnictwo Naukowe UAM, 2011) Urban, Piotr, DariuszA superior aim of the article was to prove that Zbigniew Herbert’s lyrical works in an unusually clear way gravitate towards drama and theatre. To prove this, the author of the thesis revealed the relationship between the, coming from the volume Hermes, Dog and the Star, lyric At the Gate of the Valley and a mystery play which should be understood not only as a medieval variant of religious drama but also more widely that is in terms of outlook or as an anthropological, historiosophic or metaphoric category. The author of the article showed that for the mystery character of the work speaks not only the subject taken from the Bible or non-Aristotelian action but also sacred character of space-time and, above all, martyrological plot of the lyrical text, showing the suffering of individual characters of the poem as a mirror reflection of the torment of the Saviour. He also noticed that at the beginning of the lyric Herbert used verse which under certain conditions may resemble medieval ways of versification, also typical of dramatic mystery forms and he tried to prove that the author of The Report from a Besieged City, composing his mini drama, used also a film way of watching the stage and the events happening on it. Setting about revealing the relationships between the above-mentioned lyric and a mystery play, the author of the article first showed these signs which indicate the dramatic and theatrical provenance of the poem. He proved that the lyrical subject resigned from the direct characterization of the depicted world and let speak specific stage characters using different forms of dialogue. He showed that the author constructed the statements of individual characters in such a way as to overload them with the surplus of information, typical of stage dialogues. He also proved that the events that the reader follows from the position of the spectator, take place in a specific scenery and the dramatis personae not only have clear psychological construction but they also, as it is proper for the show, use a variety of visual and acoustic signs concerning both the performer and the space. The author of the article deeply hopes that with his thesis he will contribute to enriching traditional analysis of Zbigniew Herbert’s lyrics with such ways of reading that let notice dramatic and theatrical character of his poems.Item Rewizje historii i dyskursu kryminologicznego: Kuśniewicz, Terlecki, Rymkiewicz(Wydawnictwo Naukowe UAM, 2011) Wojda, DorotaThe article concerns texts which problematize such figures of criminological discourse as crime, perpetrator, victim, interrogator, or the penitentiary system. The works of A. Kuśniewicz, W.L. Terlecki and J.M. Rymkiewicz perform multidimensional revisions: they question traditional thinking about historical truth and the means of reaching it; they trespass the border between literature and fiction; they resist criminological discourse. The writers discussed formulate a diagnosis in many aspects close to that of M. Foucault’s and the new victimology, proving that representations of history as well as mechanisms of social control are discourses of restrictive authority. Korupcja [Corruption], Odpocznij po biegu [Rest after The Race], and Wielki książę [The Grand Duke] respond to such violence with revisions of history as well as the present, thanks to which literature becomes a form of radical hermeneutiItem Ewa Lipska jako pisarka polityczna(Wydawnictwo Naukowe UAM, 2011) Morawiec, ArkadiuszThe article deals with the image of Ewa Lipska as a political writer, a committed person, and also discusses her attitude to Poland. In the studies conducted so far this aspect of her work was merely indicated, and also was sometimes a subject of manipulation. From the point of view of today it can be clearly seen that, along with the “private” motif, it crucially co-creates Lipska’s oeuvre. It is also important that the writer has expressed her social and political commitment not only in poetry (which she has published from 1961) and poetic drama (Nie o śmierć tutaj chodzi, lecz o biały kordonek [Death is Not at Stake, But the White Cord] of 1981), but also, and even most of all, in her prose (which so far has been neglected by researchers), especially Żywa śmierć [Living Death] (2009), Sefer (2009) and the columns published since 2004 in the “Kraków” monthly.Item „Le mur du langage” – samotność według Jacques’a Lacana (inność, porozumienie, miłość)(Wydawnictwo Naukowe UAM, 2011) Choińska, BognaIn my article I discuss the concept of the subject from the Lacanian psychoanalysis point of view. My aim is to show that the subject seen from such a perspective is condemned to total loneliness. I refer to three different points: otherness, comprehension and love. In Lacan’s psychoanalysis the difference is referred to as the Real (subject as je). The Real is in opposition to the Symbolic and Imaginary (subject as moi). Therefore, the world, other people and oneself can be understood as absolutely different. Taking such a definition of the otherness, the comprehension is impossible, because it takes place within symbolic sphere, which is false and alien to the subject (je). The otherness and inability of understanding determine treating love as transferred and always directed to imaginary subject. What is important, the theory of the subject as homo symbolicus, even though seemingly in agreement with anti-positivist theory, does not allow to cross lingual and to direct approaching to the otherness. The otherness may be deciphered only within the Imaginary as a disturbance within it, as a temporary lack of sense.Item Nieobecnienie. Historie (o) śmierci(Wydawnictwo Naukowe UAM, 2011) Żychliński, ArkadiuszOne of the last great novels of José Saramago, Death with Interruptions, begins with an epigraph taken from Ludwig Wittgenstein: “If, for example, you were to think more deeply about death, then it would be truly strange if, in so doing, you did not encounter new images, new linguistic fields”. The aim of my paper is to ponder on what kind of a new language game the Portuguese writer is offering us in his book and how to interpret his investigations from the angle of another contemporary literary and philosophical thanatological discourses.Item Czytając między wierszami. Rodzinna Europa Czesława Miłosza i jej angielski/amerykański przekład(Wydawnictwo Naukowe UAM, 2011) Biegajło, BartłomiejThe aim of this article is to discuss the problem of translating Polish prose, based on an analysis of a selection of samples taken from Czesław Miłosz’s Native Realm. A Search for Self-Definition translated by Catherine S. Leach. The book documents specific relations between the Western and the Eastern Europe determined by historical provenance of the realms in question. The dichotomy of the collective European history has a profound influence on the reception of Polish literature among the Western audience. Native Realm showcases the issue perfectly – it is interesting in terms of its careful account of the historical and social development of the Continent. The perception of reality is conditioned by an inherent dissimilarity of experiences between the West and the East. The intention of Miłosz was to provide an analysis of them and produce an insightful book addressed specifically to the Western readership. My discussion is an attempt to prove that the endeavour is doomed to failure due to the intrinsic differences between the cultures involved, as cultural inheritance determines the interpretation of historical facts and prompts dissimilar connotations. In the case of Native Realm, on the one hand, we encounter Miłosz’s vision/imagination that is irreversibly rooted in the Slavic way of looking at things and, on the other, the distinctively dissimilar Western vantage point. Translating these differences appears to be a major challenge for any translator.Item Dar Czesława Miłosza w kontekście filozofii daru Jacques’a Derridy(Wydawnictwo Naukowe UAM, 2011) Umerle, TomaszThe aim of this text is to present an attempt at the deconstructionist interpretation of Czesław Miłosz’s verse ‘Dar’ (‘Gift’). On the one hand, this paper emphasizes the moment of ‘dissemination’ of the literary work – the space between the title and ‘the rest’ of the text (which appeals more to the American deconstructionism) is seen as both a connection and an irreducible gap. On the other hand, this ‘dissemination’ is understood in terms offered by J. Derrida’s philosophy of gift. Miłosz used a word ‘gift’ in the title, but in the ‘textual corpus’ he made this donation ‘imperceptible’. This observation enables the Author to interpret Miłosz’s poem in the context of Derrida’s discourse of (im)possibility of gift. Consequently the title will be understood here as a gift to the text (the gift of meaning to the experience described there), but at the same time this gift/title will be seen as irreducibly separated from the ‘rest’ of the text, because of the relation between the title and the ‘textual corpus’.Item Holograficzny model reminiscencji w poezji Czesława Miłosza(Wydawnictwo Naukowe UAM, 2011) Rydz, AgnieszkaFor a model of nostalgic memory in the poetry of Czesław Miłosz, based on the psychological phenomenon of reminiscence, an allegoric counterpart can be identified in the hologram metaphor (Douwe Draaisma). The question: “Who am I” – reappears in Miłosz’s late lyrical poetry when he ponders over both his biography and the biographies of others. The response is provided, for instance, in the concept of human dialectic biography (of subject and object), formulated by Paul Ricoeur in his philosophical analyses. Human memory remains equally dialectic, placed in the antinomy between memory and oblivion. Still, retrieving a detail which has been remembered evokes all experience along with its rich context. That is the holographic effect, described in literature as the “ghost image”. Also in poetry, the effacing of memory trace does not make a barrier for the restitution of recollection. “The Sun of Memory” beams through the lyric of the author of the collection of poems “This”.Item Doświadczenie kulturowe w poezji Ewy Lipskiej (Zarys problematyki)(Wydawnictwo Naukowe UAM, 2011) Legeżyńska, AnnaThe author pays attention to the need to search new keys of interpretation of the ouevre of Ewa Lipska, recognising that the constant distinguishing feature is the anthropological aspect. The main thesis of the article is as follows: Lipska’s poetry may be treated as a particularly important evidence of cultural experiences. Also attention is focused by the author on the poetic phenomenology of sensual perception, its reflection in the awareness and memory of the subject, and also distinguishes “cultural memory” as an effect of experience. She also states that Ewa Lipska’s works are a criticism of culture – both of the so called PRL’s (Polish People’s Republic’s) culture and the later one, called the postmodern culture. The poet exposes myths and threats of post-modernity, however, the cultural experience as recorded in her works is of ambivalent character: on the one hand, it contains a negative feeling of domination of man’s existence by cyberculture, and on the other, shows the deepening and sharpening of the critical awareness of the subject, who defends himself against the inauthenticity of experience.Item Krakowianka jedna wobec modernizmu(Wydawnictwo Naukowe UAM, 2011) Michalik, JanThis article is an attempt to show the non-professional reception of literature and theatre of the late nineteenth and early twentieth centuries by ‘a young theatre amateur’ from Cracow. It reveals the dilemmas of a patriot who was convinced about the obligation of art to serve the nation, while at the same time she was interested in the ideas of Nietzsche and the theme of art as a temple propagated by “Chimera”. Elżbieta Kietlińska (b. 1881) who received no secondary education, had no job, and never founded a family, did not work, did not belong to any organisation, had no artistic ambitions, for many years lived on art, which gave meaning to her life. Intimate confessions of this inhabitant of Cracow show a spontaneous acceptance by young people of Słowacki (in particular), but also of Mickiewicz and Krasiński, and did not resist to accept the pre-first night performances of plays which ‘were not written to be staged’. Among her contemporaries she considered Wyspiański – the playwright and theatre artist to be the greatest authority: matter-of-factly and vividly she writes about his work as stage manager. Of modern European dramaturgy she most valued and deeply experienced Russian drama. With appreciation, but not uncritically, she was watching the work of Ibsen. She was fascinated by the genius of Wagner as a composer. She was the opposite of a ‘Philistine’. Her opinions, thoughts and emotions, may be the subject of all kinds of studies by the researchers of culture of the period of modernism.Item Sztuka jako uobecnianie(Wydawnictwo Naukowe UAM, 2011) Krajewska, AnnaItem 1. Spis treści/Contents(Wydawnictwo Naukowe UAM, 2011)