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Odmiany doświadczenia religijnego w Soli ziemi Józefa Wittlina

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Tischner Ł.

tom 12

nr 4

The aim of the article is to present the individual and intense experience of sensing the world, whose account can be found in the novel Salt of the Earth. The term “religious experience” was taken from William James. The author of the article first mentions the interpretative difficulties connected with the structural irony, which calls into question the statements verbalized in the novel. Taking into account this complexity, he points out four elements which justify talking about a religious experience in the Salt of the Earth. Firstly, he points up the title, which evokes a religious perception of the world and assumes a response to a calling which comes from God. Secondly, he refers to the Prologue (which does not contain structural irony), which contains the motif of war as a blasphemy. Thirdly, he analyses those passages in which the narrator weakens their distance towards Piotr Niewiadomski’s point of view and favourably assumes the magical interpretation of natural phenomena. Lastly, he refers to the Christian-Orphic-Hutsul motif of the immortality of the soul and contact with the dead.

Sekrety literatury i głód wtajemniczenia

100%

Tischner Ł.

nr 38

163-178

This article concerns secrets and secrecy in narrative works. The author, following in the footsteps of Auerbach and Kermode, argues that secrets should be understood as discontinuous places, gaps that demand to be filled. Auerbach and Kermode pointed to the biblical origins of the secret narrative. The latter in The Genesis of Secrecy. On the Interpretation of Narrative noted that secrets presuppose a mode of initiation – this was the case in the gospel of St Mark he analysed, addressed to believers. However, this sender’s intention also appears in strictly literary texts that operate the convention of the secret. This article refers to four twentieth-century Polish narrative texts that use elements of secrecy in different ways. Mrożek’s Moniza Clavier conceals the confabulatory character of the first-person statement, Miłosz’s Dolina Issy and Gombrowicz’s Kosmos conceal the deeply autobiographical character of the reflection on individual fate, while the narrative in Lem’s Solaris activates the possibility of ‘vertical reading’, referring to the concept of some absolute. Secrets in literary texts tend to be secularized versions of religious narratives addressed to the initiated, and the promise of an integration of discontinuous places attracts sceptics and believers.