Przestrzenie Teorii, 2010, nr 13

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    Racjonalizacja „niemożliwego” i jej ograniczenia: o kulturowej poetyce literackiej fantastyki grozy
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Bohuszewicz, Paweł
    Recenzja: Dariusz Brzostek, Literatura i nierozum. Antropologia fantastyki grozy, Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, Toruń 2009
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    O(d)graniczenie, zaczarowanie i sztuka rozróżniania – o prozie Toni Morrison
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) McClure, John A.; Umerle, Tomasz (Tł.); Mizerkiewicz, Tomasz (Tł.)
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    Dyskurs edukacyjny, czyli o „praktykowaniu” współczesnych teorii interpretacji
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Kwiatkowska-Ratajczak, Maria
    Recenzja: Anna Janus-Sitarz, Przyjemność i odpowiedzialność w lekturze. O praktykach czytania literatury w szkole. Konstatacje. Oceny. Propozycje, Universitas, Kraków 2009
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    Poezja młodopolska w kontekście stylów i prądów malarskich
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Wysłouch, Seweryna
    Recenzja: Piotr Siemaszko, "Od akademizmu do ekspresjonizmu. Sugestie pikturalne w poezji polskiej końca XIX i początków XX wieku", Wydawnictwo Uniwersytetu Kazimierza Wielkiego, Bydgoszcz 2007
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    Theatrum Theoreticum
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Gasché, Rodolphe; Hoffmann, Krzysztof (Tł.)
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    Przeciw konstrukcjonistom. Teoria queer i jej krytycy
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Śmieja, Wojciech
    The point of departure for the author is an observation that the queer theory in Polish humanities is either uncritically accepted or authoritatively rejected. None of these extremes perceives discussion which arose around the queer theory and the assumption which is at its basis of the social construction of sexuality in the West European and American studies. The article presented here attempts to show, sum up and put in order the accusations and doubts addressed to M. Foucault, J. Butler, and E.K. Sedgwick by researchers who are representatives of the essentialist standpoint (J. Boswell, R. Norton) or – on the grounds of queer theory – represent critical approach to its assumptions (D. Eribon, D. Halperin).
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    Pasmo estetyczne, teoria recepcji i socjologia czytelnictwa
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Rychlewski, Marcin
    The aesthetic band – in contrast to the bandwidth, i.e. the distribution channel – is a socially and historically conditioned cluster of aesthetic expectations presented by readers-buyers, represented by their majority, which in the egalitarian, post-modern, and free market society, determines the shape of the publishing market and the circuits it consists of. The author believes that the aesthetic band should be analyzed in the context of both individual and collective expectations of the reading audience in relation to the book content and its subject-matter, as well as in relation to the literary and non-literary production. In the last part of the paper, the author puts forward a proposition that the aesthetic band might be considered as a tool of ideology.
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    Ile pomieści mała forma? (O miniaturach wielkich form narracyjnych w powojennej prozie polskiej)
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Bednarek, Magdalena
    Short narratives as a highly represented group in the postwar Polish literature demands researches, especially when the only work concerning the subject ‘Theoretical Problems of Small Literary Forms’ by J. Trzynadlowski was written thirty years ago and therefore is selective and most of its conclusions are simply out-of-date. In this article ‘short narrative’ is used as a descriptive category used to embrace all the short literary pieces characterized by minimalisms of material (a concept by J. Barth). In this text appear references to the tradition of genres which I mean as a hermeneutic space following in this the postulates of architextuality, the theory created by G. Genette and popularized in Poland by S. Balbus, R. Nycz, P. Michałowski. Miniatures of large narrative genres – such as novel, diary, or epos – are unique among those. Icons and falsified indexes (which only pretend to be fragments of bigger forms) constitute ways of large genres’ appearance in short narratives. Functions of these references are not restricted to ludic ones, but raise problems of metatextuality, the cultural origins and restrictions of genres and even carry some criticism of social life and economic issues in socialistic countries. All this is proved by interpretations of works by M. Białoszewski, B. Czałczyńska, M. Głowiński, S. Mrożek, T. Parnicki, A. Stern.
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    1. Spis treści
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010)
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    „Wyciągnięta otwarcie ręka”. O związkach pejzażu i cielesnego doświadczania przestrzeni w Wypadku Stanisława Lema
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Dajnowski, Maciej
    The aim of the article is an analysis of artistic landscape’s creation in Stanisław Lem’s short novel entitled Wypadek (The Accident). In peculiar – special attention is devoted to those aspects of poetics, which are crucial to representation of creative acts of imagination and sensual experiences (other than of visual nature). The way, the scenery of the presented reality is shaped, seems to be an important medium of anthropological concepts, including the relation between experiencing the sublimity of nature and cognition and acting, as well as it appears to function as the space of meanings established by both – the efforts of memory and imagination and the carnal experience.
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    Dahlhaus – Kunze: dwugłos o dramacie muzycznym Richarda Wagnera
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Kozłowski, Krzysztof
    This article supports the thesis that Carl Dalhaus’s interpretation of the Wagnerian musical drama (drama is here understood as a “dramatic-musical form” existing in the score, which fully comes into being only on stage as a concrete artistic creation) is not totally in opposition to Stefan Kunze’s interpretation, according to whom the Wagnerian drama, as the whole musical theatre of Wagner, is in fact the “imaginative theatre”. It is possible to defend this thesis thanks to my conviction that “imaginativeness” of the theatre and its reality (staging) are not mutually exclusive although they create a particular tension. This article consists of two parts. The first one presents Carl Dalhaus’s interpretation according to which the staging belongs to the history of a particular work of drama, forming its unique character every time again. The other part of the text discusses Stefan Kunze’s interpretation that the imaginary theatre is a part of the dramatic-musical form. There is a punch line, or a specific coda, at the end of the second part of the article, which explains the meaning of both, Dalhaus’s and Kunze’s points of view, seen also from the perspective of Wagner’s musical drama itself. My interpretation presented in this article is – referring to the current state of research and in spite of a large number of literature on this subject – new and original although the meaning of both theories is of great importance for the Wagnerian studies. My interpretation may serve to better understand both – the paradox of Wagnerian studies and the artistic work to which these theories refer.
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    Melancholia versus tradycja. Jarosław Marek Rymkiewicz
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Świeściak, Alina
    In this article various manifestations of melancholy syndrome in Jarosław Marek Rymkiewicz’s poetry created after 1989 are analysed. However, his previous works are also studied. The problem of the relation of melancholy to tradition and the past in its classical understanding is researched as it is of key importance for understanding the oeuvre of the author of Animula. Referring to Harold Bloom’s theory, the author shows the melancholy relation of Rymkiewicz’s poetry with tradition, first of all in reference to the poetry of Baroque and to Bolesław Leśmian. Rymkiewicz’s melancholy also consists of the attitude to death which is present in this poetry and the transgressive treatment of corporality as well as understanding of the language as the one which from the very beginning is marked by the lack, traumatised and suspending communication.
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    Autobiografie filozofów
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Lubas-Bartoszyńska, Regina
    The article Autobiographies of philosophers is composed of three parts. The first part presents the history of philosophic autobiography since antiquity and spiritual autobiography of Saint Augustine, through “Confessions” of J.J. Rousseau – the creator of modern autobiography, Pascal, G. Berkeley and S. Kierkegaard, back to “Ecce homo” of Nietzsche. The second part presents selected autobiographies of philosophers of the 20th century like an autobiography of B. Russell (three volumes), M. Bierdiaev, K. Jaspers. The third part is an interpretation of the intellectual autobiography of P. Ricoeur, in which the author reproduces history of intellectual and philosophic development and shows the dissimilarity of “idem” to his own identity.
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    Dwie rękopiśmienne wersje Kartoteki Tadeusza Różewicza
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Solski, Zbigniew Władysław
    This article discusses two handwritten versions of Tadeusz Różewicz’s Kartoteka (The Card Index) from the manuscript of the play which since the 70s is to be found in Professor Józef Kelery’s archive. The range of differences between the manuscript and the printed version of the drama is comparable as between Kartoteka (The Card Index) and Kartoteka rozrzucona (The Scattered Card Index). In the manuscript the author distinguished Kartoteka (The Card Index) and Odmiana tekstu (The Kind of Text). A similar division into Kartoteka (The Card Index) and Odmiana tekstu (The Kind of Text) was used by the poet when the works were printed in 1971. Loose pages from Odmiana tekstu (The Kind of Text) contain unordered fragments of the play of written in 1957. These are mainly variants of conversations of the Hero with the Choir in which the author referred to the then vivid debate on the poetic drama. Mieczysław Kotlarczyk was made a hidden partner of discussion and disguised the Choir as actors of Teatr Rapsodyczny (The Rhapsodic Theatre). On the other hand, Kartoteka (The Card Index) of 1958 is a well-ordered and coherent paginated text by the author himself. In this version the author divided the play into three acts, putting most emphasis on the scene of the Wielki Egzamin (A Big Exam). He also removes unrealistic motifs, among other things, the scene when the Choir participates. The poet writes about the peerelowska (Polish People’s Republic’s the reality with the passion of a political commentator, referring to political harassment).
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    Słowacki pisze dramat...
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Troszyński, Marek
    Słowacki pisze dramat... (Słowacki is writing a drama...) is dedicated to dramatic fragments. By outnumbering Słowacki’s other works from the years 1839–1849, they determine the specificity of his entire work in this period and call for recognition as an overall phenomenon. On the basis of two works, the article presents unique issues related to these dramas. Walter Stadion is an example of a chaotic record which has seen diverse interpretative reconstructions by its editors. Książę Michał Twerski (Prince Mikhail Tversky) provides insights into the poet’s writing technique and a possibility to confront the work’s text with his excerpts from historical works and his personal notes. In the last part, the analysis has been based on the terminology used in the research of Słowacki’s completed dramas (such as W. Szturc’s dramatic “istopes” or K. Ziemba’s miniature prefigurations). The term “fractal”, placed in reference to these notions, is a new proposal presented in the article, in which a description of the work’s formal structure is combined with higher levels of its meaning.
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    Nieznośne piękno rękopisu
    (Wydawnictwo Naukowe UAM w Poznaniu, 2010) Krajewska, Anna
Uniwersytet im. Adama Mickiewicza w Poznaniu
Biblioteka Uniwersytetu im. Adama Mickiewicza w Poznaniu
Ministerstwo Nauki i Szkolnictwa Wyższego