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Przestrzenie Teorii 7 - abstrakty
ABSTRACT. Ulicka Danuta, Czy jest możliwa inna historia teorii (literatury)? [Is another history of the theory (of literature)
possible?]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 9-29. ISBN 978-83-232177-2-5.
ISSN 1644-6763.
This article binds several problems in which literature specialists are interested: in reference to the famous disputes about
the theory of literature it indicates the need to redefine it, proposes is conceptualisation as a cultural opinion (utterance),
justifies this need by the analysis of historical factual realisations of “theory” and conditions which reduced
(monologised) them, and finally – it refers to the question of actuality of the “post-modern breakthrough” and the
“turns” which announce it. The documentation of the proposed theses which revise the existing interpretations of history
of the theory is being searched in the Central and East European literary studies of the beginning and the first decades of
the 20th century, which has always been considered as the founding one for the discipline, however, since recently also
as the source one for the analysis of the status of the utterances (opinions) expressed in it. The question asked in the title
of this article about the possibility of another history of the theory resolves just in reference to the previous, nowadays
mechanically enlivened projects of theory.
ABSTRACT. Bogalecki Piotr, Literaturoznawstwo jako roz-twarzanie. Problem podwójnego autor-stwa w tekstach Tadeusza
Rachwała i Tadeusza Sławka [The literary science as de-facement. Problem of double authorship in Tadeusz Rachwał and
Tadeusz Sławek’s texts]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 31-46. ISBN 978-83232177-2-5. ISSN 1644-6763.
The essay is an attempt of rethinking a mode of authorship in literary science discourse of Tadeusz Rachwał and Tadeusz
Sławek. Their texts is being compared with G. Deleuze and F. Guattari’s method of collective writing and interpreted
according to theories of J. Derrida, P. de Man and M. Foucault. Rachwał and Sławek’s strategy of double authorship
(which is not the same as traditional co-authorship) underlines the impossibility of recognition who is speaking in the
text; therefore their collective books may be understood as a kind of performing theses which they contain (e.g.
connected with poststructuralist “death of author” or a poet and God’s mystical co-writing). Furthermore, double
authorship leaves its marks on structure of text. We can see a lot of techniques which make Rachwał and Sławek’s texts
more complicated, e.g. fragmentary style of writing, using different types of typography and even creating an elements
of visual poetry. These experiments and a new way of these texts’ being in academic public sphere make them rather
ethical than scientific – the ethic qualities and poetic function seem to be more important than the science typical
cognitive functions. Because of unceasing underlining a linguistic aspect, the texts of Rachwał and Sławek may be read as
examples of rhetorical type of ethic criticism. Not only do they ask about a significance of primary ethical ideas like
friendship, community or responsibility, but also about an existence of category of author in literary studies after linguistic
turn.
ABSTRACT. Zawadzki Andrzej, Osłabianie Nietzschego [Weakening Nietzsche]. „Przestrzenie Teorii” 7, Poznań 2007, Adam
Mickiewicz University Press, pp. 47-63. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The essay deals with Vattimo’s interpretation of Nietzsche in the context of contemporary critical discussion concerning
Nietzsche’s heritage in the modern philosophy. In his early book Il soggetto e la maschera. Nietzche e la problema della
liberazione (1974) Vattimo tries to picture Nietzsche as a philosopher of emancipation, who announces both social
liberation of humanity from political oppression and domination, and cultural liberation of the symbolical domain
(values, symbols, senses) from metaphysics and its categories like substance, essence, stable, immutable being.
In his later essays on Nietzsche, gathered in the volume entitled Dialogo con Nietzsche, Vattimo concentrates on
hermeneutical aspects of Nietzsche’s philosophy and shows his influence on contemporary philosophical hermeneutics
and theory of interpretation.
ABSTRACT. Tański Marek, Czas melancholii – czasem przemian (transgresji) czy czasem destrukcji? [The time of
melancholy – time of transgression or time of destruction?]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz
University Press, pp. 65-74. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The main objective of the article is to discuss the time of melancholy. The author tries to triangulate the definition of the
time of melancholy with the classic Freud model, concentrating on the role of the back reflects in every activities, lower
of feeling and the needs for a system of morał values, untill to the self-assucusation and especially the expectation onto
punishment. The starting point of this article has been organized in the model of the constantly repetition of the doubt,
including the sceptical oneself-reflection, which does not onto no transgression (the characteristic point of the first
stage). The time of melancholy (in the second stage) begins in to remind of the time of transgression, including the
evaluating of internal area. To see the issue in a broad perspective, the author takes into account the relation between a
man and his undertakings, such as: eftorts to be a through man, free from the despair, abandonments of lost object and
in necessity to retrieval of oneself.
ABSTRACT. Kaczmarek Michał, Retoryka pamięci (z problemów mnemologii Vincenza) [The Rhetoric of Memory. (In
Reference to Some Issues of Vincenz’s Mnemology)]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University
Press, pp. 75-96. ISBN 978-83-232177-2-5. ISSN 1644-6763.
This article focuses on rhetoric of memory in Stanisław Vincenz’s novel-cycle Na wysokiej połoninie, which, along with
narratology, genology and other related issues, constitutes part of Vincenz’s multi-aspect mnemology. The discussion on
rhetoric of memory, as the art of expression (oral and written) marked mnemically and contributing to prose of memory,
centers on certain sets defining linguistic, stylistic, rhetorical and mnemotechnical means, appearing in the form of
words, phrases, metaphors, idioms, and other compositional and textual ways of expression etc., which are linked
semantically, etymologically, metaphorically or functionally with the fundamental lexeme, i.e. “memory”. The memory
category inscribed in the Vincenz work is first of all viewed here in terms of style and linguistics taking mainly into
account the issues concerning memory metaphors as primary figures in rhetoric of memory. Moreover, the problems of
intertextual memory are outlined therein.
ABSTRACT. Kłosińska-Nachin Agnieszka, Miguel de Unamuno. Pomiędzy fikcją a rzeczywistością [Miguel de Unamuno.
Between fiction and reality]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 97-104. ISBN
978-83-232177-2-5. ISSN 1644-6763.
The article Miguel de Unamuno. Pomiędzy fikcją a rzeczywistością (Miguel de Unamuno. Between fiction and reality) is an
author’s metalepsy analysis, a phenomenon described by Gérard Genette (Métalepse. De la figure à la fiction, 2004), in
three texts by Miguel de Unamuno: Vida de Don Quijote y Sancho (1905), Niebla (1914) and Cómo se hace una novela
(1927). Author’s metalepsy, defined as transgression of the limits of fiction by an author, existentional metalepsy
(understood as a vision of the world based on doubt, concerning the status of reality) and reader’s metalepsy (if he's
forced to transgression of the limits of fiction) are the inseparable parts of Unamuno’s writing.
ABSTRACT. Górska Irena, O spotkaniach literatury i komentarza w twórczości Witkacego [On the encounters of literature
and commentary in Witkacy’s works]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 105122. ISBN 978-83-232177-2-5. ISSN 1644-6763.
In Witkacy’s works literature and commentary meet one another incessantly. On one pole a phenomenon of dramatising
of theoretical texts, e.g. aesthetic sketches is situated, and on the other the trick of playing theory within own, and on the
other a trick of playing theory within own dramaturgy. Both these procedures allow the writer to assume different roles,
thus various attitudes towards his own and others’ theories. They both make it that the boundaries of literature and
commentary are blurred. This also happens when Witkacy transfers his activities literally onto the margin [Marginalia
filozoficzne komentarza (Philosophical trifles)]. The philosophical discourse played there in various forms (also plastic
ones) makes it that the commented text and the commentary achieve equal status. Such a procedure also shows that
reading is a performative act, and that the margin is no longer a marginal place.
ABSTRACT. Karpowicz Agnieszka, Kolaż – rzeźbienie rzeczywistości [Collage Carving the Reality in the XXth Century Art].
„Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 123-132. ISBN 978-83-232177-2-5. ISSN
1644-6763.
The birth of the technique of collage in the XXth century is the attempt to break through the borders between art and
life. The art abandons fiction, for the first time annexing into its field waste and splinters of reality and next entering the
real life. Anthropological understanding of artistic phenomena enables alternative to poststructuralist and postmodern
view on the art of collage. It allows a constructive question to the phenomena to be posed and answered: what collage
constructs, what it expresses and to what it reacts, whether it expresses the new consciousness? The slogan: “life itself is
art and art is life” is the effect of collage, which participates in all genres and artistic forms that attempt to embrace nonartistic activities, melt into the sequence of events, act in the real space, conduct single actions, blowing over like events
in the real life.
Making art may be understood as the synonym for humanity. With the use the collage technique artists realize first of all
that the artistic activity is part of reality and natural consequence of creative potential of humankind. Collage teaches
how to locate pieces of art among other creative work. The collage technique shows that the Art is an everyday creation
and output.
ABSTRACT. Lachman Magdalena, Literatura do oglądania? Proza polska po 1989 roku pod naporem kultury wizualnej
[Watching Literature? Polish Fiction after 1989 and Visual Culture]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz
University Press, pp. 133-158. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The article investigates the relationship between Polish fiction and a variety of aspects of visual culture. Contemporary
culture has reached a stage in which images hold central position. Consequently, word, as a medium of communication,
is marginalised in favour of visual ways of conveying messages. Novels which have appeared after 1989 provide more
than enough examples of close links between literature and visuality. Writers themselves are engaged in various projects
which depart from traditional literature based on written text and engage in multi-media projects related to film,
photography, advertisement or simply visual arts. Moreover, literary criticism accompanying new literature often falls
back on visual imagery taken straight from visual arts; most literary reviewers find it handy to employ terms and concepts
developed in the field of film criticism or used in writing about comic books and television. What is more, some writers
take pride in creating literature designed to be watched rather than read. The inner mechanisms of literary market seem
to promote visuality over textuality. Writers and critics want and love to occupy TV screens; they cultivate their public
image and turn it into a marketable logo. Many PR strategies are involved to achieve full recognition of their name and
work. The implied assumption behind these strategies is that literature alone is not attractive enough to be left outside
of the reach of powerful media. This assumption can be seen not only in writers’ public appearances but also in novels
they write. Motifs, self-conscious comments, form and structure as well as typographic layout on the page are the basic
means to emphasise that visuality remains at least as important as written text. The article presents the most significant
devices used to visualise literature after 1989. Furthermore, it compares contemporary fiction with the modernist
literature where most of these techniques originated from.
ABSTRACT. Kraska Mariusz, Metafora w kulturze popularnej. Przypadek graffiti [Metaphor in popular culture. The case of
graffiti].„Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 159-171. ISBN 978-83-232177-2-5.
ISSN 1644-6763.
The author acknowledges graffiti as a medium creating its own situation of communication. Referring to Scott Lash
conception of regime of signification, he underlines that graffiti is critical and destructive to official cultural discourse. This
is a kind of anarchistic revolt which is shown within graffiti by a metaphor. It means, unlike to other writings of culture,
invalidation of a cognitive function to pragmatic one. One can prove that graffiti metaphor, as a kind of activity, is mainly
used in language and through it. In the field of poetics it is presented by destruction of general language forms, irony
and humor, quotation and spelling variations as well as vulgarisms and purnonsens.
ABSTRACT. Choińska Bogna, Sztuka religijna dawniej i dziś – „Wędrówki po Europie” Aleksandry Olędzkiej-Frybesowej
[Religious art yesterday and today – „Travels around Europe of Aleksandra Olędzka-Frybesowa]. „Przestrzenie Teorii” 7,
Poznań 2007, Adam Mickiewicz University Press, pp. 173-185. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The article presents a peculiar understanding of religious art, which is possible to be found in Aleksandra OlędzkaFrybesowa’s essay writing. An artistic easiness of the usage of symbols is connected with two orders coexistance in a
human being: a cosmic and a historical, sacrum and profanum. However, the crisis of European culture (which started
together with the fall of Romanesque art) is a result of a separation of these both spheres in a man’s consciousness and
of a return to Greek-Roman ideals. A recipe for dealing with the crisis within the area of the fine arts is supposedly not
regaining early medieval heritage, but rather a humble mimetism. It could constitute an introduction to symbolic
generalisation which the author contradicts with abstract thinking.
ABSTRACT. Popczyk-Szczęsna Beata, Tekstualność i teatralność [Textuality and theatricality]. „Przestrzenie Teorii” 7,
Poznań 2007, Adam Mickiewicz University Press, pp. 187-196. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The book by Patrice Pavis Le théâtre contemporain. Analyse des textes, de Sarraute à Vinaver comprises the collection of
essays on the contemporary French drama. The author proposes the textual analysis, which takes into account all levels
of the composition of discourse. The reception of a drama is understood in terms of stage production made by a reader;
because in the process of reading he both reproduces the dramatic situation (semantic aspect) and he decodes the
situation of expression (stage aspect).
The above mentioned mode of reading may be applied not only to drama. Two texts have been analyzed in the article:
the poem Terrorysta, on patrzy (The terrorist, he is watching) by Wisława Szymborska – an example of a lyrical statement
constructed in a similar way as the theatrical situation and the drama Terroryści (Terrorists) by Ireneusz Iredyński – an
example of text, which is characterized by the predominance of rhetoric over theatricality. The meaning of these works
results from the oscillation between the structure of text and its theatrical potential.
ABSTRACT. Dobrowolski Piotr, Teatralne wojny z kontrolą medialną [Theatre wars on media-controlled reality].
„Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 197-214. ISBN 978-83-232177-2-5. ISSN
1644-6763.
The title of this essay plays on words with a title of Noam Chomsky’s book Media Control and with a term War on Terror,
both connected by exploring features of ‘mediality’ (media-reality). The author’s interest lays where theatre and media
clash, giving friction of potentials that is productive by differencing ‘reality’ and the media. He attempts to retrace the
aesthetic interpretation of the mass media relationship used in theatre, starting from the similar narratives that they both
employ (basing on Polish critical reception of in-yer-face theatre). Afterward he moves to a place, where the faith in an
image showed onstage is undermining, to the position that counterbalances the trust placed in an onscreen, mass media
reality (exploring a practice of The Wooster Group). In the conclusion appears that theatre enlarges a distance to its
construct, in an opposition to the media. It is authorized to expose its own conventionality: the stage never tries to make
an uncritical illusion of reality, theatre wants to set its audience free to interpret what they see; these facts evoke a
natural war between theatre and the mass media.
ABSTRACT. Dybizbański Marek, O teatrze „science fiction” kilka uwag [Some remarks on the science fiction theatre].
„Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 215-235. ISBN 978-83-232177-2-5. ISSN
1644-6763.
The science fiction aesthetics has actually never created (formed) its own kind of drama and in spite of attempts
undertaken several times it has not been feeling completely at home. Theore-ticians (Theorists) of science fiction see the
theatre as an inconvenient (troublesome) partner which “reveals the imitative character of the presented world and
destroys the atmosphere of fantasticality”. In the meantime the history of the science fiction drama reveals quite an
astonishing regularity, namely it appears that the manner of creation of the science fiction stage illusion is completely
independent of the degree of technical advancement of the theatrical machinery. The better the equipment of the
theatre, the more modestly science fiction appears in it. Co-existence of fantasticality and theatricality in the works
written for stage, however, does not occur without any conflict and is more often based on respecting of limitations
(restrictions) resulting from the system rather than harmonious co-operation.
ABSTRACT. Olkusz Piotr, Jeszcze teatr, czy już kino? Jeszcze kino, czy już teatr? O przestrzeniach wideo w spektaklach
Heinera Goebbelsa, Roberta Lepage’a, José Montalvo [Still theatre, or is it actually film? The use of video in Heiner
Goebbels, Robert Lepage and José Montalvo plays]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University
Press, pp. 237-245. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The use of film techniques in theatre performances is no new invention. There are two distinguishable ways of doing this:
in the first, media techniques are used on the stage only and bear no profound significance to the “actual core of the
theatre” (Béatrice Picon-Vallin, Les Les écrans sur la scène, Lausanne, 1998, p. 10), or rather, they are used to transform
the “classic” theatrical approach (actor who “here and now” – immediately – expresses himself). With the second method,
the use of multimedia cannot be considered as an optional part of performing arts: the introduction of multimedia creates
profound theatrical relationships, although the “here and now” setting does not apply. (e.g. in the plays of Robert Lepage,
Heiner Goebbels and José Montalvo).
In view of the development and omnipresence of digital and interactive techniques, it seems that stage theatre intended
to be “natural” can no longer ignore multimedia “as the actual core” of the theatrical relationship (it is not sufficient to
simply show them on the stage). And similarly, the theory of stage theatre must modify its definitions in order to discuss
this type of theatre which seeks to represent the relationships of today.
ABSTRACT. Bocheński Tomasz, „Sądy boże” opisane przez Witkacego i Gombrowicza [“God’s judgements” described by
Witkacy and Gombrowicz]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 249-263. ISBN
978-83-232177-2-5. ISSN 1644-6763.
The article discusses two ways in which modernist writers represent a duel. Witkacy describes a dispute between an artist
and a modern society which deprives it of its meaning i.e. an honour. Gombrowicz understands that artists has already
lost his honour and therefore exposes duels as a deliberate deconstruction of matters of honour. Both deal with complex
restitution of the meaning that is applied to art in the modern society.
ABSTRACT. Jarząbek Dorota, „Ach, bal więc bal!” – polifoniczność dialogu w „Za kulisami” Norwida i „Operetce”
Gombrowicza [“Ah, ball...” – polyphony of a dialogue in Za kulisami by C. Norwid and Operetka by W. Gombrowicz].
„Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 265-287. ISBN 978-83-232177-2-5. ISSN
1644-6763.
The article presents some reflections on a dramatic motive of a ball (including a masked ball) in Polish 19th and 20th
century drama, and tightly connected with this a problem of a polilogue (dialogue of a group of people as opposed to
an ordinary dialogue with two persons involved). A masked ball in a drama gives an opportunity to show various ways of
concealing and creating one’s personality. It may be used as a sharp satirical cabaret, a grotesque composition on the
edge of reality and dream (Za kulisami) or a kind of metaphor for processes of a human History (Operetka). All the cases
are based on a fruitful use of a polilogue. It enables a playwright to intensify dramatic action, to give the show some
scenic shine and colours, and also to penetrate into the question of characters’ ontology: their existence in the
polyphonic dialogue as a real being or a sketch, a sign of a person, a chorus or simply a background.
ABSTRACT. Reimann Aleksandra, Tekst do słuchania (?), czyli uwagi o ,,muzyczności” dramatu „Partita na instrument
drewniany” Stanisława Grochowiaka [A listening (?): some remarks about “musicality” of “Partita na instrument
drewniany” drama (“A partita for a wooden instrument”) by Stanisław Grochowiak]. „Przestrzenie Teorii” 7, Poznań 2007,
Adam Mickiewicz University Press, pp. 289-299. ISBN 978-83-232177-2-5. ISSN 1644-6763.
The present article discusses the phenomenon of correspondence art in the drama of Stanisław Grochowiak. The title “A
partita for a wooden instrument” is connected with music. Therefore, it is interdisciplinary. The main question concerns
the fact how music can exist in the area of literature and how relations between the art of sounds and words influence
each other.
ABSTRACT. Żółkoś Monika, Podróż do granic aktorstwa w teatrze Krystiana Lupy [Journey to the borders of actorship in
the theatre of Krystian Lupa]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 301-307. ISBN
978-83-232177-2-5. ISSN 1644-6763.
The article deals with the description of originality and uniqueness of acting in Krystian Lupa’s performances. Author
describes the process of creating the fictional characters in his art as psychical work, which is based on privacy of an
actor. Trying to criticize the stereotypes about Lupa’s performances, the author makes comparison with Tadeusz Kantor’s
theatre and his approach to the actors.
Abstract. Kraskowska Ewa, Doświadczenie a gender w literackim i filozoficznym dyskursie oświecenia i romantyzmu (zarys
problematyki) [Experience and Gender in the Literary Discourse of the Enlightenment and Romanticism (an outline of the
problem]. „Przestrzenie Teorii” 7, Poznań 2007, Adam Mickiewicz University Press, pp. 311-331. ISBN 978-83-232177-2-5.
ISSN 1644-6763.
The aim of this article is to demonstrate close links between ‘experience’ as an epistemological notion and ‘femininity’ as
a gender concept. Experience is considered here within two dichotomies: experience – reason; and experience –
innocence. They are traced here mainly in the writings of Rousseau, Wollstonecraft, Krasicki, Mickiewicz, Blake and
American Transcendentalists. Both dichotomies constitute an essential part of the Enlightenment and Romanticism
thought, art and lifestyle. In particular they construct the code of sensibility, which highly influenced the 18th and 19th
centuries aesthetics, spirituality and philosophy. As a result of the cult of sensibility in Western culture there appeared a
peculiarly gendered figure – that of a sensitive man, a feminized male, capable of experiencing and showing strong
emotions. By connecting maleness with features usually perceived as typically feminine, the latter gained higher cultural
status. The counterpart for the sensitive man was a reasonable woman, a female person endowed with traditionally
masculine intellectual capacities. The discourse of experience has a special meaning in William Blake’s work and thought;
here it is related to his anti-rationalist and anti-scientific worldview, as well as to his apotheosis of Innocence as the state
of clear insight into the true reality – one that is hidden behind the visible world. From Blake, via European Romanticists
and American Transcendentalists it is possible to draw links to contemporary counterculture, environmental movements
and theories (eco-criticism, eco-feminism) with their appreciation of soft feminine values.