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Przestrzenie Teorii 17 - abstrakty
ABSTRACT. Bohuszewicz Paweł, Teoria literatury doby „zwrotów”: o jubileuszowej ankiecie „Tekstów Drugich” [Theories
of literature in the times of “turns”: about jubilee questionnaire of “Teksty Drugie”]. „Przestrzenie Teorii” 17. Poznań 2012,
Adam Mickiewicz University Press, pp. 13-32. ISBN 978-83-232-2449-5. ISSN 1644-6763.
After 20 years of appearance in print of “Teksty Drugie” magazine, its chief editor, Ryszard Nycz, has prepared some general
questions and refers them to the closest collaborators. Many of them are poststructuralistic, but not only: the text of Ewa
Domańska consists of the project of return of natural sciences into the core of humanities, and Danuta Ulicka’s text The
Archival Turn (As I See It) announces the necessity of a turn to philology – not its 16th or 19th century versions, but
postmodern philology.
ABSTRACT. Krajewska Anna, „Zwrot dramatyczny” a literaturoznawstwo performatywne [“Dramatic turn” and performative
literary studies]. „Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 33-50. ISBN 978-83-2322449-5. ISSN 1644-6763.
This article presents performance studies as a proposal that would follow the era of disciplinarity. The author proposes to
view the phenomenon from the perspective of the changes and transformations from the aesthetics of reception to
performance studies, and introduces the category of the literary interlocking to define the performative functioning of text.
The author then proceeds to interpret the relationships between the “dramatic turn” that has reoriented and restructured
modern thought on reality and art, and the notions of anti-binarity and performativeness. Finally, the author makes an
argument that the performative turn has profoundly and significantly transformed the humanities in its entirety. The
performative breakthrough has ideological nature that is related to the foundations of understanding the substance of
dramaticality.
ABSTRACT. Grzymisławski Piotr, Zwrot performatywny w teatrze postdramatycznym [Performative turn in postdramatic
theatre]. „Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 51-61. ISBN 978-83-232-2449-5.
ISSN 1644-6763.
In this article I try to identify changes that occur in the communication process in the theatre, which I call acceptance
process. The core of perception in dramatic theatre up to now was the denial (term proposed by Anne Ubersfeld), which
allows to participate in theatrical work. In theatre which leaves dramatic form, so-called postdramatic theatre, there is an
acceptance process. This new situation in the theatre, by turning towards enforcing performative functions in the
communication theatre, leads to changes in the relationship between stage and audience, their mutual temporary and spatial
arrangement. In the contemporary art, not only in theatre, Auditorium turns into an Autorium – watching works becomes
literally a creative activity, within which there are as many performances as many persons participating in an event – or as
many images in each of performative entity’s mind.
ABSTRACT. Stopel Bartosz, Rozbrajając „Walczące słowa” Judith Butler [Disarming Judith Butler’s Excitable Speech].
„Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 63-78. ISBN 978-83-232-2449-5. ISSN 16446763.
The aim of this essay is to attempt to engage in polemics with the theory of hate speech endorsed by Judith Butler in her
book Excitable Speech. The text will try to show that the Butlerian strategy of textualization of hate speech. If it is understood
as a main tool of fighting with injurious speech, fails and, in fact, hinders this fight. The argument will touch both upon the
theory and its practical application. On the theoretical level, the deconstruction of J.L. Austin’s speech acts by Butler, along
with a similar, earlier treatment of Austin by Derrida, will be criticized. In terms of practice, it will be attempted to view
some of the recent, controversial events concerning hate speech through the lens of Butler’s theory, and to show the
inadequacies of treating her theory as an effective tool of fighting injurious utterances.
ABSTRACT. Hendrykowski Marek, Kinemy w „Kabarecie” [Kinems in Cabaret]. „Przestrzenie Teorii” 17. Poznań 2012, Adam
Mickiewicz University Press, pp. 79-88. ISBN 978-83-232-2449-5. ISSN 1644-6763.
There’s more to discover about Bob Fosse’s masterpiece Cabaret (1972) through these two inspiring shots. Marek
Hendrykowski’s comprehensive study including detailed in-depth analysis of the opening and last shot of Berlin 1931 story
enlarges the scope of understanding of film poetics used in Cabaret. It also demonstrates the crucial importance of the
outstanding direction, filming and editing to that unique film.
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ABSTRACT. Woźniak Ewelina, „Cinemagraphs” Jamie Beck w kontekście dramatycznej teorii literatury [Jamie Beck’s
“Cinemagraphs” in the context of dramatic theory of literature]. „Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz
University Press, pp. 89-103. ISBN 978-83-232-2449-5. ISSN 1644-6763.
The purpose of this article is to present works of a New York photographer Jamie Beck, who developed a new type of
moving photography – cinemagraphs, and look at her work from the perspective of the dramatic theory of literature. Jamie
Beck in her works redefines many notions related to the visual realm. Movement and time relationship, the model identity
and the impact of material on the image perception are the most interesting problems, that are connected with
cinemagraphs. All these issues are analyzed in relation to fields dealing with image: André Rouille’s and Roland Barthes’
photographic theories, art history represented by Georges Didi-Huberman and Rudolf Arnheim’s “the psychology of creative
eye”.
ABSTRACT. Gajewska Grażyna, Przyroda(i)kultura w epoce antropocenu [Nature(and)culture in the anthropocene epoch].
„Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 105-114. ISBN 978-83-232-2449-5. ISSN
1644-6763.
The article deals with a New Understanding of nature and culture, which is being crystallized in the intellectual current
defined by the name of post-humanities. The starting point for the analysis of work of art from the area of bioart – transgenic
plant named Edunia, which is a part of a larger project Natural History of the Enigma. Edunia, which does not occur in
nature but was created by the artist Eduardo Kac by means of specialists in the field of genetic engineering. A new form of
life defined as plantimal shows a DNA expression of the artist included into decorative flowers of petunia. Rose petals of
flowers are “interspersed” by dark red vessels the feature of which is the expression of Kac’s gene; this because the artist took
care of that that his DNA was found just in the venation of the flower. In the article I present two interpretation paths of this
work of bioart which, however, are not a sharp counterpoint to one another, but somewhat differently place accents
between nature and culture in their mutual entanglements. One of these paths may be defined as an attempt at making
others realise or reminding them about our evolutional species condition, while the other one as an attempt at treating nature
as an important actor of the socio-political activities.
ABSTRACT. Obremski Krzysztof, Estetyka, erotyka i parytet płciowy: „Historia piękna” i „Historia brzydoty” pod redakcją
Umberta Eco [Esthetics, eroticism and sex parity: Umberto Eco’s History of Beauty and History of Ugliness]. „Przestrzenie
Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 115-137. ISBN 978-83-232-2449-5. ISSN 1644-6763.
The topic of comparative analysis which is presented in this article is The Story of Beauty and The Story of Ugliness edited
by Umberto Eco. Even the covers of these books show the contrast between men and women. How esthetic values build a
feedback with sexual parity? Ugly men look at beautiful women – this patriarchal discrimination can’t be cancelled either by
the parity of sex in The Story of Beauty, nor men who twice outnumber them in The Story of Ugliness. Also as the unfair sex
they are prior sex: they humiliate themselves and elevate women.
ABSTRACT. Reimann Aleksandra, Muzyczny styl odbioru – muzyczny interpretant – literacka forma muzyczna [Musical
style of reception – a musical interpretant – musical form in literature]. „Przestrzenie Teorii” 17. Poznań 2012, Adam
Mickiewicz University Press, pp. 139-161. ISBN 978-83-232-2449-5. ISSN 1644-6763.
The paper is concerned with reception strategies where interdisciplinary competencies are connected to musical
expectations towards a text, which – i.a. because of metatextual suggestions – needs a musical explanation – “musical
supplement”. The objective of the article is the musical and literary dialog, which belongs to intermediality (definition by W.
Wolf), and intertextuality in the large sense as well. Although the penetration of musical and literary correspondence does
not threaten “scientist hysteria”, it also does not promise fruitful strategies and satisfactory conclusions. The paper includes
terminological proposals which are an attempt at universal, semiotic transposition into musical and literary borderland,
which in the practice of interpretation has too eclectic, and mostly one-time solutions.
ABSTRACT. Kluba Agnieszka, Peiper w Madrycie, czyli hiszpański topos [Peiper in Madrid or the Spanish topos].
„Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 163-195. ISBN 978-83-232-2449-5. ISSN
1644-6763.
The pope of Polish avant-garde is a main character of a certain persistently recollected critical topos. It claims that, after
spending World War I in Europe, Tadeusz Peiper took a basic shape of his poetical idea from avant-garde artists he then met.
Critics who share this opinion believe that Peiper, aware of these “borrowings”, was developing a carefully planned strategy
in order to conceal those external sources and to pretend originality. The author of the article disavows these harmful
assumptions, reconstructing their possible genesis (rooted in and continued prewar suspicions of plagiarism) and analyzing
some of their critical versions. In the same time she presents wider and not only avant-garde background of Peiper’s idea
(baroque, gongorism).
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ABSTRACT. Lubas-Bartoszyńska Regina, O Polsce i o Polakach w pozaantologijnych pismach osobistych cudzoziemców
XVIII i XIX wieku [On Poland and Poles in personal writings of the 18th and 19th century foreigners in literary works other
than anthologies]. „Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 199-216. ISBN 978-83232-2449-5. ISSN 1644-6763.
This text presents some autobiographical writings of foreigners, which concern Poland of 18th and 19th century with the
exception of those treated in J. Gintel’s anthology. This is no problem of systematic information concerning Poland’s reality
in these centuries which are to be found in commentaries and treaties. We are discussing foreign diaries, memoires and
autobiographies of the following authors: G.G. Casanova, Ch.J. de Ligne, J. Michelet, V. Hugo, R. de Chateaubriand, G.
Sand, E. and J. de Goncourts. These autobiographical enunciations are treated here as the cre-dible source of information.
These personal texts are destined for Polish readers, who feel specific pleasure finding some mentions concerning Poland.
The readers encounter Poles as historical persons, artists, writers in the background of historical events, in travel, social and
everyday life.
ABSTRACT. Miller Hillis Joseph, Po co czytać literaturę? [Why read literature?]. „Przestrzenie Teorii” 17. Poznań 2012,
Adam Mickiewicz University Press, pp. 219-243. ISBN 978-83-232-2449-5. ISSN 1644-6763.
The essay in question is the translation of the fourth chapter of J. Hillis Miller’s book, On literature (2002), in which he
circles around questions elemental yet convoluted for literary criticism. Miller reminds us about (as ancient as archetypal)
dilemmas concerning the role of literature in society (e.g. Plato’s putdown of poetry and Aristotle’s defense of it) and
discloses contemporary judgments covertly rooted in them. The fundamental issue is why Western culture has granted
literature such great authority. His argument reposes on an assumption that literary works give us access to virtual realities
that are not otherwise knowable.
ABSTRACT. Eshelman Raoul, Performatyzm albo koniec postmodernizmu („American Beauty”) [Performatism, or the end of
postmodernism (American Beauty)]. „Przestrzenie Teorii” 17. Poznań 2012, Adam Mickiewicz University Press, pp. 245283. ISBN 978-83-232-2449-5. ISSN 1644-6763.
The presented text is a translation of the first chapter of Eshelman’s book Performatism, or the End of Postmodernism (2008).
Its main thesis is based on the assumption that along with the exhaustion of postmodernism a new aesthetic paradigm
emerges, namely – performatism. Deriving his project from a new notion of sign (grounded on the anthropological theory of
ostensivity by Eric Gans) and the description of a crucial aesthetic device called ‘double framing’, Eshelman tracks down
symptoms of the epochal change in literary and visual works as well as in movies and architecture. The text also lays
foundation for new monist concepts of subjectivity, time and history.
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