This is a discussion of three poems whose authors consider their own photos. What these texts have in common is the fact that self-presentation is reduced to a minimum and substituted by mythological and religious references. Mieczyslaw Jastrun's 'The River' (from the volume 'The Arms of Memory') presents a visit at a photographer's studio in terms of an Orphic rite. In consequence the snapshot becomes a document of a past-perfect, irretrievably dead 'I'. Similarly Zbigniew Herbert, in his poem 'Fotografia' (from the volume 'A Report from a Besieged City') regards the act of taking a photo as a re-enactment of Isaac's sacrifice. C. K. Norwid, on the other hand, explains his photo portrait in a different way. In the poem 'On being asked Why in a square-topped hat? (he put on that hat for the occasion) he alludes to the Christian symbolism of the Lamb thus postulating a new - ie. purged of violence - vision of culture and history.
Dostęp do pełnego tekstu na zewnętrznej witrynie WWW
This article concentrates on the nature of visual perception which informs those of Anna Kamienska's and Tymoteusz Karpowicz's poems that are ekphrases of photographic images. Both writers seem to rely on the phenomenological 'Anschauung' (sensuous perception) which proceeds in three dialectical phases. The first phase produces a complete reconstruction of the object of perception, the second phase negates it, and the third achieves a new synthesis, which in a way reconciles the previous two outcomes. In effect, each poems conceived in this way becomes a record of a visual epiphany. Yet the epiphanies experienced by either poet are strikingly different. For Kamienska a photo of her dead mother stimulates the contemplation of a gratuitous gift, free from any connotations of trade (like Jean-Luc Marion's donation). For Karpowicz a photograph of this kind would usually produce a hypnotic vision in which the person from the picture turns into the poet's uncanny alter-ego.
The article analyses the motif of photograph in Polish prose in 1863-1939. The author presents three contexts in which the 'prop' is found. Most frequently a photograph has an important function in the protagonists' love affairs who, seeing the photograph, fall in love or become jealous. Perception of photography carries also an amount of data on the world which gradually reduce and ultimately lead to the recourse to the observed subject. The third context is connected with the tanatological experience of the protagonists: a photo of the deceased may console or conversely - strengthen the belief in fragility of every life.
The article presents a panorama of theoretical stances referring to the mutual relationships between a myth and a novel. The conceptions were divided into four classes. The first (made up of papers by Juri Lotman and Northrop Frye) concentrates of the genetic kinship and points out at the divergent influences that a myth gave on a novel (mostly at its birth). The second and the third group (represented by papers by John Vickery and John White) point at the presence of plots, quotations and mythical allusions or at some other (purely formal) loans in the novelistic narration. The fourth group of scholars (e.g. Mircea Eliade, Odo Marquard, Eric Gould) eliminates intertextual relations and replaces them with functional ones. The old purposes of myth were contemporarily taken over by literature and thus the novel - both in its form and its contents - is subject to mithologisation.
This article interprets three lyrical pieces focusing around photograph taking. Poems by Tytus Czyzewski, Stanisław Baranczak and Janusz Szuber show that the action in question was used for the purpose of tanathological penetrations of aspects of 20th-century culture.