Wyniki wyszukiwania - Biblioteka Nauki

1

Narracyjne wyrwy. Rozdwojony w sobie w świetle Dzienników z lat osiemdziesiątych Teodora Parnickiego

100%

Gielata I.

Świat i Słowo

|

2013

|

tom 11

|

nr 1(20)

101-112

EN

The article presents the motif of ‘narrative gaps’, empty spaces marked by ellipsis which appear in Teodor Parnicki’s novel Rozdwojony w sobie (Divided in One-self). The author searches for the explanation of the problem in the writer’s Diaries (Dzienniki z lat osiemdzieciątych. Notatki o własnej pracy twórczej / Diaries from the 1980s. Notes on my own cretaive work) in which the novelist offered a detailed description of all the phases of writing the novel. Parnicki’s Diaries show that, while it was being written, the novel gradually ceased to satisfy its author, who often succumbed to ‘great weariness’. In those states of ‘great weariness’ the ‘gaps’ in the novel – which presented a (re)structured narrative about Athanagild – appeared. It turns out that the writer had been using the ‘gaps’ before (Nowa Baśń / The New Fable, Sekret trzeciego Izajasza / The Secret of the Third Isaiah) describing them as a kind of artistic escape, resulting from the inability to continue a certain plot or as a narrative device leading to an unmotivated ‘leap’ between motifs, the ‘leap’ unmotivated by the narrative itself. Hence, a ‘gap’ is in fact a textual lacuna indicating the lack of a link between narratives, motifs and plots in Parnicki’s novels. At the same time, however, it is a symptom of ‘weariness’ of the author, who, in the last years of his life, was unable to meticulously plan every thread of his novel. Three ellipses in the third chapter of Rozdwojony w sobie (Divided in Oneself) are such arbitrary ‘leaps’ from one motif to another. Yet, according to the interpretation suggested in the Diaries, such ‘gaps’ should be perceived as a result of two simultaneous forces – weariness and madness. Author’s weariness leads to unintentional effect of repetition i.e. returning to the motifs that possess author’s imagination. Hence, the textual ‘gap’ is a kind of a hole, through which one can observe the elements the author had repressed. These elements resurface in the moments of weakness forcing him to take narrative ‘leaps’. They are not narrative evasions or symptoms of creative weakness of the old and ill writer but a sign of the ‘uncanny’ (in Freud’s terms) influencing the writer’s work.

2

Mapy Sienkiewicza

100%

Gielata I.

Fabrica Litterarum Polono-Italica

|

2022

|

nr 4

1-16

IT

Il saggio è dedicato ai viaggi italiani di Henryk Sienkiewicz. La prospettiva del Grand Tour, santificata da secoli di tradizione, è qui sostituita da un’esperienza maladica. La morte di sua moglie, che morì di tubercolosi lasciando orfani due figli, con dannò Sienkiewicz ad una vita in costante tensione, in uno stato di ansia febbrile. Ed è la registrazione di questa ansia, paura, “febbre” – che costituisce la traccia testuale, la registrazione cartografica dell’esperienza della disgregazione.

EN

The article is devoted to the Italian travels of Henryk Sienkiewicz. The perspective of the time-honored “Grand Tour” is replaced here by a maladic experience. The death of his wife, who died of tuberculosis, orphaned two children, condemned Sienkiewicz to a life of constant tension, in some state of feverish anxiety. And it is the record of this anxiety, fear, „fever” that constitutes a text trace, a cartographic record “mapping” the experience of disintegration.

PL

Artykuł poświęcony włoskim podróżom Henryka Sienkiewicza. Perpektywa uświęconego wielowiekową tradycją Grand Tour zastąpiona zostaje tu jednak doświadczeniem maladycznym. Śmierć Marii, która zmarła na gruźlicę osierociwszy dwójkę dzieci, skazała Sienkiewicza na życie w ciągłym napięciu, w jakimś stanie rozgorączkowanego niepokoju. I właśnie zapis owego niepokoju, lęku, "gorączki" - stanowi tekstowy ślad, kartograficzny zapis "mapujący" doświadczenia rozpadu.

3

„Ludzkie owady” i człowiek – o dalekiej bliskości życia w niedoli i wspaniałości

100%

Gielata I.

Zoophilologica. Polish Journal of Animal Studies

|

2016

|

nr 2

165-175

EN

The author analyzes E.T.A. Hoffmann’s short story Master Flea, focusing mainly on the scene of the telescope duel between two biologists: Jan Swammerdam and Anton Leeuwenhoek. This scene triggers reflection on discovering the closeness between humans and insects – a closeness that became possible once man started to question the possibility of being different from animals. Even though Swammerdam equated human beings with insects, he never overcame the limitations of anatomic perception. It was only the generation of Romantics that discovered the similarity of fate between humans and insects – a similarity, as Maurice Maeterlinck called it, of “misery and greatness”. The author traces the evolution in the ways of perceiving insects and writing about them; an evolution which was initiated by Montaigne’s essay Apology for Raymond Sebond and later developed by E.T.A. Hoffmann, Henry David Thoreau and Maurice Maeterlinck.

4

Użyteczna wyspa

100%

Gielata I.

Świat i Słowo

|

2022

|

tom 38

|

nr 1

33-52

EN

Jules Verne’s The Mysterious Island, in unanimous opinion of critics, is the most “mysterious” of all the writer’s novels. The article’s author asks questions about what secrets this novel reveals to the contemporary reader who has recently become aware that he lives in the time of “anthropocene marasmus” (E. Bińczyk). He finds answers by confronting the text of Verne’s novel with the views of English utilitarians (J. Bentham, J. S. Mill) and the works of contemporary thinkers (R. Brague, The Kingdom of Man. The Genesis and Failure of the Modern Project, P. Sloterdijk, What Happened in the 20th Century?), and this allowed The Mysterious Island to be considered a prophetic work, another version of a modern story about the fall of man, who, believing in his creative power and the power of instrumental reason, does not see (like the characters of the novel) that the nature he uses marks the end of human agency. This kind of blindness, into which a group of nature colonizers collapse, carrying out their modernist project of “creating of ‘nothing’”, was considered a kind of anthropocene hybris.

5

Skrzynie i kukła psa w Gepardzie Giuseppe Tomasiego di Lampedusy. O życiu pośród resztek słów i rzeczy

100%

Gielata I.

Rana. Literatura - Doświadczenie - Tożsamość

|

2020

|

nr 2

1-17

EN

This article is an attempt to interpret the final scene of The Leopard by Giuseppe Tomasi di Lampedusa (in which Concetta buries the remains of a decomposing stuffed dog) and to present an analysis of the motif of hope chests. Tracing Freudian anachronisms in the novel’s narration, the author proves that Concetta’s never-opened hope chests are a sign of her “mummified” memories of erotic unfulfillment. The decayed dowry kept in the chests is an image of “memory traces” (Freud) which harm the unmarried woman, turning her life into a “hell of memories.”

PL

Artykuł stawia pytanie o znaczenie finałowej sceny Geparda Giuseppe Tomasiego di Lampedusy (grzebania przez Concettę szczątków psiej kukły) i w całości przedstawia analizę motywu skrzyń posagowych. Tropiąc Freudowskie anachronizmy w narracji powieści, autor dowodzi, że nieotwarte nigdy skrzynie są dla Concetty znakiem „zmumifikowanej” pamięci o erotycznym niespełnieniu. Zbutwiała w zamkniętych skrzyniach wyprawa posagowa stanowi zatem obraz „resztek wspomnieniowych” (Freud), które przez lata raniły niezamężną kobietę, zamieniając całe jej życie w „piekło wspomnień”.

6

Oko podróżnika – epizod wenecki „Podróży po Włoszech” Hipolita Taine’a

100%

Gielata I.

Białostockie Studia Literaturoznawcze

|

2019

|

nr 15

97-109

EN

The article discusses the impact of place on the traveller’s eye. The author uses Hippolyte Taine’s Venetian episode in Voyage en Italie [Journey to Italy] to illustrate how Venice’s landscape transforms and rejuvenates Taine’s eye, modeling his emotions. It turns out that the traveller sees affectively. This way of seeing is no different from the aesthetic eye which, according to Taine’s theory, “uncovers” what is “conspicuous”. The Italian sketches demonstrate as a result that his “philosophy of art” is permeated by geopoetic thinking about the place agency.

7

Paryż i Warszawa, Yonville-l’Abbaye i Iksinów – miasta i miasteczka w twórczości realistów

100%

Gielata I.

Świat i Słowo

|

2012

|

tom 10

|

nr 2(19)

161-176

EN

The author traces the stories of 19th century literary characters – inhabitants of villages or small towns – who dream about living in big, modern metropolises. Those journeys are quite often phantasmatic and never go beyond the sphere of desires (Emma Bovary). They prove, however, that the modern writers sharply distinguished the small town lives from the lives in big conurbations. Those differences were also stressed by the economists (Adam Smith) and sociologists (Georg Simmel) quoted by the author. Strong market, great capitals, abundance of ever changing excitements, volatility and superficiality of relationships, boredom or extravagancies are all products of big urban agglomerations which are hard to find in everyday life of small towns. This led to drawing sharp borderlines (mental rather than real) which separated 19th century small towns from cities. However the author suggests that the modern authors equally often stressed the differences and similarities between cities and small towns. This could be observed in Bolesław Prus’s novel Emancypantki (The New Woman) in which the phenomenon of gossip blurs the borderline between a small town Iksinów and the city of Warsaw.

8

„Parki jutra” – idea parku w projektach architektów nowoczesności

100%

Gielata I.

Śląskie Studia Polonistyczne

|

2018

|

tom 11

|

nr 1

55-69

EN

The article discusses the transformations of the idea of park in modernity. In the Age of Enlightenment Europe replaced the white of medieval cathedrals with the green of parks. A man, like Candide from Voltaire’s satire, started to “cultivate his garden,” changing private parks in public spaces. As a consequence of that process the idea of park as a place where you could experience beauty and pleasure completely “vanished”. Urban green spaces started to be determined by an efficacy parameter – which can be witnessed in Le Corbusier’s or Ebenezer Howard’s projects – thus opening the way for transforming former landscape parks into modern places of consumption: commercial parks and amusement parks.