Wyniki wyszukiwania - Biblioteka Nauki

1

Anatomia anegdoty

100%

Kącka E.

Autobiografia. Literatura. Kultura. Media

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2022

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tom 18

41-52

EN

The anecdote is a borderline case of literature and literarily constructed living speech (parole). Its specific poetics, viewed from the “aspect” of literature, is arresting for its endurance (owed among others to the participation of unconscious factors). Meanwhile, from the “aspect” of fictional techniques, the anecdote shows itself as an element of rhetorical strategies. The anecdotal phrase would thus mean stepping beyond the strict rules of discursive communication towards imposition of suggestions. Namely, the anecdote is usually a veiled critical statement that acts subliminally. By combining components of information with sceptical intent it undermines this content. Its thrust is often directed against the lofty pretensions and pathos under which authority presents itself to the world. The anecdote brings the scintillation and duality of human motivation to the image of the world as a part of its unique strategy of subversion. Keywords

PL

Anegdota stanowi przypadek graniczny literatury oraz zorganizowanej literacko żywej mowy (parole). Zastanawia trwałość jej specyficznej poetyki, widzianej „od strony” literatury (zawdzięcza ją m.in. udziałowi czynników nieświadomych), „od strony” technik fikcji anegdota okazuje się natomiast elementem strategii retorycznych. Zwrot anegdotyczny oznaczałby tu wykroczenie poza ścisłe reguły komunikacji dyskursywnej i narzucania sugestii. Anegdota bowiem jest zwykle zawoalowaną wypowiedzią krytyczną, działającą podprogowo. Łączy składniki informacyjne z intencją sceptyczną, która owe treści podważa. Jej ostrze wymierzone jest często we wzniosłe pozory i patos, z jakimi prezentuje się światu autorytet. Wprowadza w obraz świata migotliwość i dwoistość motywacji ludzkich, co składa się na właściwą jej strategię przenicowań.

2

WŚRÓD PORÓWNAŃ I ANALOGII

100%

Kącka E.

Porównania

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2019

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tom 24

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nr 1

311-318

EN

.

3

Nowe studia modernistyczne i późny modernizm

100%

Kącka E.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 24

35-42

EN

studies into late modernism-of the issues which are worth researching or the problems which should be signalled. The article starts with a recognition of a poor presence of the category of modernism in thinking about the literature of the 20th and 21st centuries and submits several proposals. At the beginning, a proposal of confronting a modernist paradigm with a paradigm of Romantic revision. This proposal was presented with an awareness of the fuzziness of the notion of modernism as well as the notion of Romantic revision in Polish academic environment. The following research postulates that would be formulated are: deeper reflection on the language (in connection with tradition, heritage and their problematization) and on the practices of reading. Later, the text poses a question about the way of studying the permeation of discourses in the writing of specific representatives of modernism and demands greater recognition for the Central European perspective in research.

4

Ciało mitu. Piłsudski Brunona Schulza

100%

Kącka E.

Schulz/Forum

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2019

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nr 13

35-46

PL

The present paper focuses above all on a variant of the legend of Józef Piłsudski presented by Bruno Schulz in his literary works. It is definitely not the best known literary incarnation of the myth of Polish First Marshall, neither is it the most quoted one, like excerpts from General Barcz by Józef Kaden-Bandrowski or from Jan Lechoń’s book of poetry Silver and Black [Srebrne i czarne]. Still, Schulz gives us a very interesting analysis of the formation of this legend, and we can find in it Schulz’s own approach and style. His views on the formation of this legend are in fact ahistorical, free of the specific context. When he writes that “unbelievable historic maturity was incarnated in this man,” he is closer to heroic narration rather than sociological analysis. It is not a coincidence then that Schulz’s sense of historic moment is intertwined with his understanding of myth and his literary mythology. The author of The Street of Crocodiles worked on his essay “How Legends Come Into Being” [Jak powstają legendy] when he was finishing “Spring,” which brings the two texts closer and gives a historical incentive for a parallel reading of both, which is also justified by their content. Schulz puts Piłsudski in his own symbolic domain and makes him an agent/actor of his own narration. The problem of his individual importance or eminence is confronted with the views of Thomas Carlyle and Edmund Burke. The aim of the paper’s author is not just a close reading of Schulz’s text, but juxtaposing it with a few other analyses of the phenomena of birth, rise, and death of the legend. Karol Irzykowski was one of the most clear-headed analysts of those processes and that is why his views are quoted in the fragments devoted to a “socio-cultural process” which he treated not as an esoteric phenomenon but as a conscious strategy of influencing people. A short analysis of the quotation from Piłsudski about the role of legends and the oppressiveness of the legendary discourse in Polish culture is also important. Piłsudski, who understood the vampirical character of legends, became a prisoner of Schulz’s creative imagination in his essay.

5

Geometria imaginacji. O kształtowaniu przestrzeni u Schulza

100%

Kącka E.

Schulz/Forum

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2019

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nr 14

PL

The starting point of the essay is a hypothesis that the concepts of time in Schulz’s fiction can be approached more effectively and systematically than those of space. It is space that shows his inventiveness the best, comparable to his drawings. There are many studies of space in Schulz’s fiction, yet few of them address the basic problem: how is space actually created, what are the rules of its production? While a number of critics have pointed at the figure of the labyrinth and geopoetics has inevitably become a relevant method, less attention has been paid to the representations of phenomena from the border area of dream and wakefulness. Ernst Mach’s Analysis of Impressions, commonly read by Schulz’s peers, suggests many valuable clues. The proper frame of reference for such phenomena, close to spontaneous hallucinations, is language. It is its dynamic, with which Schulz collaborates in a disciplined way without reducing its artistic value, which generates analogies between linguistic operations and spatial forms. The shaping of space conditioned by language – verbal mimesis which renounces any other mimetic ambitions – is a very interesting aspect of Schulz’s writing. The essay includes analyses of the selected passages from Schulz’s stories – those dominated by a unique conditional mode signalized on various levels by verbal, adjectival, and adverbial phrases. Schulz’s tour de force in that respect is “The Gale.” The atmosphere of the story is uncanny and surreal, and, what is perhaps the most important, the sound effects are rich as in no other work of fiction by the Drogobych writer. “Spring” shows other strategies of creating spaces derived from words. It is important that the stories in both Schulz’s collections make the reader turn to the concepts related to the category of non-place.

6

NOŻYCZKI NORWIDA

100%

Kącka E.

Porównania

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2017

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tom 20

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nr 1

250-258

7

The world of lofty feelings and good manners, or Norwid’s law of inversion

100%

Kącka E.

Studia Norwidiana

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2020

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tom 38 English Version

95-105

EN

This article regards Norwid’s Tajemnica Lorda Singelworth in the context of his anthropology as well as historical and cultural background. The author’s notion of “cleanliness,” inspired in some measure by the Gospels, is connected to the circumstances of both Norwid himself and the main character of his puzzling novella. This reading revolves around the image of a balloon flight during which the Lord – as it is argued, following hints already present in studies of Norwid – discards a piece of paper with “physiological content.” This scene is placed in the context of other literary balloon flights and the eccentricity of Baudelaire’s friend Philoxène Boyer. Finally, the article discusses Norwid’s law of inversion, which can be applied in the case of Singelworth.

8

Vadeomecum: projekt krytycznej refleksji społecznej (Cyprian Norwid – Stefan Żeromski)

100%

Kącka E.

Zeszyty Naukowe PUNO

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2020

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tom 8

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nr 1

211-221

EN

We can see in Norwid’s writings the artistic process, developing in the subsequent stages of feeling that almost whole reality of his times was built on lies. Not only on intentional lies but on all forms of hypocrisy, falsehood, and collective and social illusions. e dialectics of Norwid’s thematic and formal inventiveness is based on finding and assessing the situations where literary means can be used to separate the truth from different falsehoods. And the poet shows enormous ingenuity while basing this not on religious and moral judgements but ethical and cognitive diagnoses. In my article I show how the working of Norwid’s disillusions – which can be compared to Hermeneutics of Suspicion – touches on the basic issues such as speech, work, art, progress and eventually the Gospel message. e apologist of work can see the symptoms of its alienation. the worshipper of the cult of art classifies many varieties of false art. He discovers manipulative potential of the language in rhetoric dexterity of his contemporaries. He shows to the enthusiasts of progress that the 19th century is in fact the age of involution. Norwid’s civilization project proved to be suggestive to Stefan Żeromski or Stanisław Ignacy Witkiewicz.

9

Światopogląd jako styl. „Klucze Piotrowe” Rogera Peyrefitte’a w przekładzie Hanny Szumańskiej-Grossowej jako ogniwo tradycji

100%

Kącka E.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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nr 43

13-26

EN

The article’s starting point is the consideration of selected works of Anatole France’s, André Gide’s and Guillaume Apolinaire’s, which over a hundred years ago would constitute a separate trend in the French pre-Vatican church. What differentiates the criticism of what is known as ultramontanism from the traditional anticlerical satire is the tone of persiflage, irony and theological erudition of almost grotesque proportions. In the 1950s, Roger Peyrefitte, a diplomat and a satirist of the Vatican, was an outstanding heir to this stylistic and thematic tradition. When translating his The Keys of St. Peter in 1959, Hanna Szumańska-Grossowa had to refer to the aforementioned author, who had lived half a century earlier, and work out a narrative of her own based on the achievements of J. Sten (Anatole France), Tadeusz Żeleński-Boy (André Gide) and Adam Ważyk (GuillaumeApollinaire).

10

The Battle of the Skamander

100%

Kącka E.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

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nr 8

211-221

EN

The article offers a reconstruction of the text-based fight between Adolf Nowaczyński and Antoni Słonimski. It was not, as it is argued here, only a contest of styles and temperaments – though this exchange proved one of the most impressive, powerful, and dramatic polemics of that time in terms of articulation. However, it stemmed from a long history of tumultuous contacts which offered an amplified view of the problems of identity (Jewishness), politics, and community. A comprehensive view of the combat between Nowaczyński and Słonimski requires both an analysis of the rhetorics of the texts and an investigation into the context and dynamics of publication.

11

Świat wzniosłych uczuć i dobrych manier, czyli Norwidowskie prawo inwersji

100%

Kącka E.

Studia Norwidiana

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2020

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tom 38

99-110

EN

First of all, the presented article offers a novel interpretation of Lord Singleworth’s Secret in the context of Norwid’s anthropology on the one hand, and a historical and cultural background on the other. Norwid’s understanding of “cleanliness,” which was inspired in some measure by the Gospels, had interesting connections with the life circumstances of Norwid himself and the main character of his puzzling short story. The reading of Lord Singleworth’s Secret revolves around the image of a balloon flight during which the lord-according to this interpretation, not alien in Norwidology-throws a paper with “physiological content.” This scene is put in the context of other literary balloon flights, and also, due to Lord Singleworth’s eccentric behaviour, confronted with the manifestations of bizareness organized by Baudelaire’s friend Philoxène Boyer in the 19th century. So it seems that Singleworth is one ofthe most interesting weirdos of the 19th-century literature. Nonetheless, he remains one of the characters for whom we may invoke Norwid’s law of inversion-inferred in the article.

PL

Artykuł stanowi przede wszystkim propozycję nowego odczytania Tajemnicy lorda Singelworth w kontekście Norwidowskiej antropologii z jednej, a tła historyczno-kulturowego z drugiej strony. Rozumienie „czystości” przez Norwida, niewolne od inspiracji ewangelicznych, wchodzi w ciekawe zależności z realiami, w których przyszło funkcjonować nie tylko samemu poecie, ale też bohaterowi jego zagadkowej noweli. Odczytanie Tajemnicy lorda Singelworth skupia się wokół obrazu lotu balonem, z którego lord – wedle tej interpretacji, nieodosobnionej zresztą w norwidologii – zrzuca papier zawierający treść natury fizjologicznej. Scena ta umieszczona zostaje w kontekście innych literackich lotów balonem, a także – w związku z ekscentrycznym zachowaniem lorda – skonfrontowana z manifestacjami dziwności, jakie w Paryżu XIX wieku urządzał przyjaciel Baudelaire’a, Philoxène Boyer. Singelworth wypada zatem na jednego z ciekawych dziwaków literatury dziewiętnastowiecznej. Jednocześnie pozostaje jedną z figur, w związku z którymi przywołać można – wyprowadzone w artykule – norwidowskie prawo inwersji.

12

Czy należy spalić Schulza? Likwidatorzy: Wyka i Napierski

100%

Kącka E.

Schulz/Forum

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2018

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nr 12

PL

The author considers the circumstances in which Kazimierz Wyka and Stefan Napierski, two respected literary critics, published texts which criticized Bruno Schulz in the monthly magazine Ateneum (1939, no. 1). Schulz’s prose works were already widely known to be difficult, but there was no doubt as to their merit. The writer’s high position seemed indisputable, and yet Wyka and Napierski still consciously tried to destroy Schulz’s legacy. Their critical attack on Schulz is interpreted in the essay not as an isolated exploit, but as a model case of interpretational misunderstanding, which is not so much the effect of a lack of understanding, but of planned action and ill will of the critics. Wyka and Napierski did not want to understand, and with their dislike of the type of prose that Schulz wrote they programmed a certain type of reading and critical approach, which had many followers and determined reception. At the same time, however, their dismissal of Schulz turned out to have a positive value ‒ not for the history of criticism, but for Schulz studies as such.

13

Między dojrzałością i rewizją. Z przypisów do Brzozowskiego spotkania z Norwidem

100%

Kącka E.

Studia Norwidiana

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2012

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tom 30

79-105

EN

The article is focused on the relation between Stanisław Brzozowski and Cyprian Norwid, one that is important for comprehending Polish culture and literature. Brzozowski could not meet Norwid in person, and his fascination was exclusively the fascination of a reader, but the deliberations presented here are not limited to the perspective of reception or to research on the influence. I am trying to describe the connection between the two authors as an encounter, because many of their intuitions – concerning the social world, the role of an individual in history, the coexistence of life and literature – coincided. A dynamic model of encounter allows pointing to the personalistic-dialogical way Brzozowski treated Norwid's work. I have decided to make “maturity” the key word of this article, and this is for two reasons. Firstly, Brzozowski provided one of his most significant books, Idee (Ideas), designed to be an introduction to “philosophy of historical maturity”, with an epigraph taken from Norwid's Garstka piasku (A Handful of Sand). The epigraph does not have a decorative function, but it foretells and programs reflection. Secondly, both the authors ponder over what maturity should be in the historical, anthropological and philosophical planes. In the light of the issue of maturity the community of thought between Norwid and Brzozowski appears not only as a community of common answers, but – first of all – as a community of basic and fundamental questions.

14

Między dojrzałością i rewizją. Z przypisów do brzozowskiego spotkania z Norwidem

100%

Kącka E.

Studia Norwidiana

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2012

|

tom 30

079-105

EN

The article is focused on the relation between Stanisław Brzozowski and Cyprian Norwid, one that is important for comprehending Polish culture and literature. Brzozowski could not meet Norwid in person, and his fascination was exclusively the fascination of a reader, but the deliberations presented here are not limited to the perspective of reception or to research on the influence. I am trying to describe the connection between the two authors as an encounter, because many of their intuitions – concerning the social world, the role of an individual in history, the coexistence of life and literature – coincided. A dynamic model of encounter allows pointing to the personalistic-dialogical way Brzozowski treated Norwid’s work. I have decided to make “maturity” the key word of this article, and this is for two reasons. Firstly, Brzozowski provided one of his most significant books, Idee (Ideas), designed to be an introduction to “philosophy of historical maturity”, with an epigraph taken from Norwid’s Garstka piasku (A Handful of Sand). The epigraph does not have a decorative function, but it foretells and programs reflection. Secondly, both the authors ponder over what maturity should be in the historical, anthropological and philosophical planes. In the light of the issue of maturity the community of thought between Norwid and Brzozowski appears not only as a community of common answers, but – first of all – as a community of basic and fundamental questions.

15

Schulzowskie dubia

63%

Gondowicz J. , Kącka E.

Schulz/Forum

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2016

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nr 7

230-239

PL

The article is a series of short notes about intertextual mysteries in Bruno Schulz’s literary works. What is the origin of the enigmatic title Street of Crocodiles? Who exactly is the sceptic from Schulz’s essay on Aldous Huxley’s Music at Night – Thomas Huxley or maybe Henri Bouchet-Doumenq? Who is the inspiration for Schulz’s woman represented in his graphics – Manet or Edmond Bazire? Who did Stanisław Weingarten love except Schulz? Revelations presented by the authors are rather fragmentary, yet they can be a good starting point for developing them into longer stories.