Wyniki wyszukiwania - Biblioteka Nauki

1

Słabość i śmierć. Próby z fenomenologii zjawisk twórczych

100%

Klinger M.

|

nr 3 (326)

106-110

PL

Słabość antropologicznie jest dominantą ciała. Przedstawiony jest „topos” kulturowy ciało – miłość – śmierć na podstawie licznych utworów, jak Padlina Baudelaire’a, motywu „wskrzeszenia Łazarza” w Zbrodni i karze, hymnów prawosławia i in. Z analizy wyłania się obraz solidarności Boga z człowiekiem w dramacie cielesności, nie w transcendencji. Przywołuje to ich „współzależność” w rodzaju panteizmu o cechach egzystencjalno-osobowych. „Co zrobisz, gdy ja umrę, Panie?” (Silesius, Rilke w Rosji).. Na tle kenozy Boga człowiek – „czymże jest?!”. Tajemnica zła nie wyczerpuje tajemnicy człowieka. Powołany jest do twórczości (Bierdiajew), której dzieła nie przewidzi nawet Bóg. Jednak człowiek poddaje się kenozie, czy „na podobieństwo” Boga?

EN

Anthropological weakness is a dominant of the body. The article presents the cultural body-love-death topos upon the basis of numerous works, such as Une Charogne by Charles Baudelaire, the motif of “the raising of Lazarus” in Crime and Punishment, Russian Orthodox hymns, et al. The analysis produces an image of solidarity between God and man within the drama of corporeality and not within transcendence, evoking their “co-dependence” in sui generis pantheism possessing existential-personal features. “What will you do, God, when I die?” (Silesius, Rilke in Russia). “What is man?” against the kenosis of God. The mystery of evil does not exhaust the mystery of man. His vocation is creativity (Berdyaev), whose outcome is not foreseen even by God. Nonetheless, man succumbs to kenosis – “in the image” of God?

2

'Les Fleurs du mal' (The Flowers of Evil ) as the infernal contract. Satanism in poems by Baudelaire

100%

Tomkowski J. , Tomkowski J.

|

3

Remarks on a few motifs in the works by Norwid and Baudelaire

100%

Siwiec M.

Studia Norwidiana

|

2018

|

tom 36 English Version

79-101

EN

The article is a proposal to read the writings of Norwid and Baudelaire as works going beyond Romanticism, although they arise from it, as precursors of modernity, affected – as W. Benjamin wrote – by the inhospitable experience of the era of great industry. The comparative analysis focuses on the diagnosis of the present as demonstrated in the texts of both poets, associated with urban phenomena, crowd, flâneurie and alienation. The author exposes the techniques of description of these phenomena by both writers and various reactions to them. She proves that Baudelaire identifies himself with his city, accepts its imperfections, although he also sees in it a threat to the autonomy of an individual, while Norwid keeps a distance allowing for moral evaluation. The article brings out these similarities and differences, showing the writers’ attitude towards urbanization and, generally, to modernization processes as ambivalent, ambiguous and demanding to confront both the city and oneself.

4

Les Fleurs du mal (The Flowers of Evil ) as the infernal contract. Satanism in poems by Baudelaire

100%

Tomkowski J.

Nauka

|

2020

|

nr 3

EN

Baudelaire’s Catholicism seems difficult to interpret, therefore some authors declare the poet a Satanist. In my opinion, this is rather problematic to call Charles Baudelaire a Satanist. It is very debatable and doubtful, but there are several reasons for this. In the collection of poetry entitled “Les Fleurs du mal” (“The Flowers of Evil”), Baudelaire gave a voice to the Devil many times. He wrote a scandalous poem “Litanies de Satan” (“The Litany of Satan”). In fact, Satan tempts us and leads us, after all he is closer to man that God! Was Baudelaire a Satanist? It is question to be answered.

5

L’inquiétante sincérité : Baudelaire et Chopin lus par André Gide

89%

Voegele A.

|

nr 41

247-263

EN

Why does André Gide so often compare Chopin to Baudelaire? For several reasons: because for him, the two artists are unique, irreplaceable, incomparable; because both were initially misunderstood; and because they are both classics of the nineteenth century. In other words, what distinguishes them, according to Gide, is their aesthetics of discretion, which is verysimilar to the one he develops in his own works – particularly those in which he defends the homosexual cause.

6

Remarks on a few motifs in the works by Norwid and Baudelaire

89%

Siwiec M.

Studia Norwidiana

|

2018

|

tom 36 English Version

79-101

PL

Artykuł stanowi propozycję lektury pism Norwida i Baudelaire’a jako przekraczających romantyzm, choć z niego wyrastających, prekursorów nowoczesności, dotkniętych – jak pisał W. Benjamin – niegościnnym doświadczeniem epoki wielkiego przemysłu. Analiza porównawcza skupia się na diagnozie współczesności, zawartej w tekstach obu poetów, związanej ze zjawiskami wielkomiejskimi, tłumem, flâneurie, wyobcowaniem. Autorka eksponuje techniki opisu tych zjawisk przez obu pisarzy i różne na nie reakcje. Dowodzi, że Baudelaire identyfikuje się ze swoim miastem, akceptuje jego ułomność, choć dostrzega w nim także zagrożenie dla autonomii jednostki, Norwid natomiast zachowuje dystans pozwalający na moralną ocenę. Artykuł wydobywa te podobieństwa i różnice, ukazując stosunek pisarzy do urbanizacji i w ogóle do procesów modernizacyjnych jako ambiwalentny, niejednoznaczny, wymagający zmierzenia się i z miastem, i z samym sobą.

EN

The article is a proposal to read the writings of Norwid and Baudelaire as works going beyond Romanticism, although they arise from it, as precursors of modernity, affected – as W. Benjamin wrote – by the inhospitable experience of the era of great industry. The comparative analysis focuses on the diagnosis of the present as demonstrated in the texts of both poets, associated with urban phenomena, crowd, flâneurie and alienation. The author exposes the techniques of description of these phenomena by both writers and various reactions to them. She proves that Baudelaire identifies himself with his city, accepts its imperfections, although he also sees in it a threat to the autonomy of an individual, while Norwid keeps a distance allowing for moral evaluation. The article brings out these similarities and differences, showing the writers’ attitude towards urbanization and, generally, to modernization processes as ambivalent, ambiguous and demanding to confront both the city and oneself.

7

Zigeuner Unterwegs Von Charles Baudelaire Und Zigeuner Von Georg Trakl. Zur Kulturellen Adaptation Einer Ethnie

88%

Pilipowicz A.

Kwartalnik Neofilologiczny

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2015

|

nr 4

669-677

EN

In the article an attempt has been undertaken to analyse two poems: Gypsies on the Road (Bohémiens en voyage) by Charles Baudelaire and Gypsies (Zigeuner) by Georg Trakl. The Gypsies are an ethnic group whose existence is marked by the never-ending wandering. Changing places of residence, they are confronted with symbols of the Antique and the Christian culture. Though the world of the European civilisation offers them its values, the Gypsies hold to their own tradition that gives them happiness and safeness.

8

Czarna przędza” Baudelaire’a

87%

Siwiec M.

|

nr 37

211-230

EN

The article shows Baudelaire’s poetry as a sign of both fascination and disgust with melancholy at the same time, which paradoxically results in an over-representation of melancholic images. Black yarn is the key image in the interpretation of Fleurs du mal presented here. Blackness appears as a sign of emptiness, of what is lost, as something interiorized and appropriated by a melancholic subject. The article proves that this emptiness and abysmal desolation in Baudelaire’s texts provide the substantive weight and that blackness becomes the materialization of melancholy and the matter of poetry at the same time, which leads us directly to a melancholic poetry par excellence.

9

Fenomen romantycznego cyklu lirycznego. O wyznacznikach cykliczności na przykładzie Sonetów krymskich, Vade-mecum i Kwiatów zła

71%

Igliński G.

Prace Językoznawcze

|

2021

|

tom XXIII/2

331–344

PL

Przedmiotem niniejszej wypowiedzi są wyznaczniki cykliczności, które znamionują cykl liryczny w ogóle i zarazem charakteryzują cykle romantyczne, które poza stygmatem drogi łączy także „sugestia autobiografizmu”. Za przykład posłużyły dzieła Adama Mickiewicza (Sonety krymskie), Cypriana Norwida (Vade-mecum) i Charles’a Baudelaire’a (Les Fleurs du mal, pol. Kwiaty zła). Wszystkie je, tak różne w sferze myślowej i obrazowej, wiąże topos wędrówki zawierający interpretację losu ludzkiego. Zwrócono uwagę na następujące elementy mogące sygnalizować cykliczność i mieć wpływ na spójność całości cyklu: dedykacja, motto, numeracja wierszy (czasem pomijająca pierwszy utwór, traktowany jako prolog), tytuł dzieła oraz tytuł jakiejś serii tekstów w tym dziele (mających lub niemających własnych osobnych tytułów), gatunek (np. sonet), rama kompozycyjna, minicykle (podcykle), „wiązki cykliczne” (np. wiersze-filary rozdzielające minicykle), grupa centralna, nadrzędny podmiot i nadrzędny odbiorca cyklu (nierównoznaczni z podmiotem i odbiorcą właściwym dla pojedynczego wiersza). Podjęto ponadto próbę określenia rodzaju układu cyklicznego, jaki dzieła Mickiewicza, Norwida i Baudelaire’a prezentują – w zależności od stopnia zamknięcia (spójności) struktury cyklu i autonomiczności ogniw go tworzących.

EN

This article focuses on the determinants of cyclicality characterising the lyrical cycle in general and, in particular, romantic cycles, which are all marked by the motif of the road but also by the “suggestion of autobiographic nature”. Examples used to illustrate the analysis comprise works by Adam Mickiewicz (The Crimean Sonnets), Cyprian Norwid (Vade-mecum) and Charles Baudelaire (Les Fleurs du mal). Although so different in their thought and imagery layers, they are linked by the topos of wandering, which represents an interpretation of human condition. The analysis places emphasis on such elements that could indicate cyclicality and influence cohesion of the entire cycle as: dedication, motto, numbering of the poems (sometimes disregarding the first poem treated as the prologue), the work’s title and the title of a series of texts in that work (which may or may not have their own, separate titles), genre (e.g. sonnet), composition framework, mini-cycles (sub-cycles), “cyclic bundles” (e.g. pillar-poems separating mini-cycles), central group, supreme subject and supreme recipient of the cycle (which are not equivalent to the specific subject and recipient of an individual poem). Moreover, the presentation attempts to define the type of cyclic setup presented by the selected works of Mickiewicz, Norwid and Baudelaire depending on the level of cohesion of the cycle structure and autonomous nature of the links that form it.

10

La Vanité à l ’usage des demoiselles : savoir-vivre et savoir-mourir dans le roman d ’éducation pour filles dans le Second Empire

71%

Daouda M. K.

Quêtes littéraires

|

2018

|

tom 8

76-87

EN

In the 1850es, the Second Empire settles in after five stormy decades that unveil the vanity of temporal power. The legitimist writers Sophie Rostoptchine, countess de Ségur, and Victorine Monniot, have left a deep imprint in the education of Second Empire young ladies. Their teaching, which taps on practical interpreta-tion of Cahtolic catechism illustrate the Christian principles of renunciation taught by the memento mori while echoing the anguishes of the time. The article aims to study the presence of vanity as a pedagogical tool in Le Journal de Marguerite (1858) and the cycle of Sophie (1858-1859) and to highlight the links between these edifying novels and the fears expressed by Baudelaire and Edmond de Goncourt.

FR

Les années 1850 voient s ’installer le Second Empire après un demi-siècle houleux où s ’illustre la vanité du pouvoir temporel. Toutes deux légitimistes, Sophie Rostoptchine, comtesse de Ségur, et Victorine Monniot, ont laissé une empreinte profonde dans l ’éducation des jeunes filles du Second Empire. Leur enseignement, fondé sur une interprétation concrète du catéchisme catholique, illustre les principes chrétiens de renonciation aux biens matériels enseignés par le memento mori tout en se faisant l ’écho des angoisses de l ’époque. L ’article se propose d ’étudier la présence de la vanité comme outil pédagogique dans Le Journal de Marguerite (1858) et le cy-cle de Sophie (1858-1859) et de mettre au jour les liens entre ces romans édifiants et les hantises exprimées par Baudelaire ou Edmond de Goncourt.

11

The Importance of Being Present: A Comparative Reading of Montaigne, Baudelaire, Canetti and Desnica

63%

Kalinić S.

Poznańskie Studia Slawistyczne

|

2019

|

nr 16

123-142

EN

Even though they are different in many ways, Montaigne’s essay “Of Experience”, Baudelaire’s poem “The Clock”, Canetti’s play The Numbered, and Desnica’s novel The Springtimes of Ivan Galeb share a common trait. They all highlight the importance of now. This comparative study analyses various ways in which they depict the present time and demonstrate how the past and the future can disable mindful living in the present.

12

Between blasphemy and desire for the sacred. Modernist litanies à rebours

63%

Majewska J.

|

nr 3

PL

In the second half of the 19th century in the European culture appears an increased interest in evil. This phenomenon is widely spread particularly in France and England. In his famous volume of poems Les Fleurs du Mal Charles Baudelaire publishes The Litanies for Satan where the Devil replaces God as the addressee of a blasphemous prayer. Joris-Karl Huysmans, an author of the novel Là-bas, describes a black mess and a litany addressed to Satan who seems to be closer to sinful people than perfectly indifferent God. A poet from the Huysmans’ artictic circle, Édouard Dubus, devotes his litany to a „Lady of grace and immorality” – a blasphemous double of Mary, mother of Jesus. An English poet Charles Algernon Swinburne writes Dolores, a poem addressed to „Our Lady of Pain” and recognised as the apogee of the satanic litany. In all these cases the choice of a litany as a literary genre results in acceptance of a vision of the world broaden with spirituality. In spite of their seemingly blasphemous plots, all these texts express a deep hunger for the sacred – the hunger that could not be satisfied with official religion.

13

Young Poland, everyday life and Norwid

63%

Trybuś K.

Studia Norwidiana

|

2017

|

tom 35 English Version

211-219

EN

The book by Radosław Okulicz-Kozaryna entitled Rok 1894 oraz inne szkice o Młodej Polsce [The year 1894 and other sketches on Young Poland] (Poznań: Wydawnictwo Naukowe UAM 2013) is analysed in this review as some sort of original synthesis of the epoch, which primarily focuses on the fuzzy turning points of Young Poland, in particular in regard to its beginnings. The sketch on the poetry by Aleksander Szczęsny, treated here as a “late grandson” of Cyprian Norwid, also included in this book, turned out to be important from the perspective of Norwid Studies. The quiet hero of almost all the stories about the Young Poland included here is Baudelaire. The book is written in the spirit of correlation between the arts – reflection on literature is intertwined with thoughts on painting of the epoch. The author evokes the aura of Young Poland’s “here and now”, he recreates the atmosphere of that artistic everyday life.

14

Młoda Polska, codzienność i Norwid

62%

Trybuś K.

Studia Norwidiana

|

2017

|

tom 35

199-206

PL

Książka Radosława Okulicz-Kozaryna Rok 1894 oraz inne szkice o Młodej Polsce (Poznań: Wydawnictwo Naukowe UAM 2013) jest w tej recenzji rozpatrywana i omawiana jako pewien rodzaj oryginalnej syntezy epoki, która przede wszystkim koncentruje uwagę na płynnych cezurach Młodej Polski, co zwłaszcza odnosi się do jej początków. Ważny z punktu widzenia badań norwidologicznych okazał się pomieszczony w tej książce szkic o poezji Aleksandra Szczęsnego, traktowanego tu jako „późny wnuk” Cypriana Norwida. Cichym bohaterem niemal wszystkich pomieszczonych tu opowieści o Młodej Polsce jest Baudelaire. Książka napisana jest w duchu korespondencji sztuk – refleksja o literaturze splata się z przemyśleniami na temat malarstwa epoki; autor wyczarowuje aurę młodopolskiego „tu i teraz”, odtwarza klimat tamtej artystycznej codzienności.

EN

The book by Radosław Okulicz-Kozaryna entitled Rok 1894 oraz inne szkice o Młodej Polsce [The year 1894 and other sketches on Young Poland] (Poznań: Wydawnictwo Naukowe UAM 2013) is analysed in this review as some sort of original synthesis of the epoch, which primarily focuses on the fuzzy turning points of Young Poland, in particular in regard to its beginnings. The sketch on the poetry by Aleksander Szczęsny, treated here as a “late grandson” of Cyprian Norwid, also included in this book, turned out to be important from the perspective of Norwid Studies. The quiet hero of almost all the stories about the Young Poland included here is Baudelaire. The book is written in the spirit of correlation between the arts – reflection on literature is intertwined with thoughts on painting of the epoch. The author evokes the aura of Young Poland’s “here and now”, he recreates the atmosphere of that artistic everyday life.

15

Young Poland, everyday life and Norwid

62%

Trybuś K.

Studia Norwidiana

|

2017

|

tom 35 English Version

211-219

PL

Książka Radosława Okulicz-Kozaryna Rok 1894 oraz inne szkice o Młodej Polsce (Poznań: Wydawnictwo Naukowe UA M 2013) jest w tej recenzji rozpatrywana i omawiana jako pewien rodzaj oryginalnej syntezy epoki, która przede wszystkim koncentruje uwagę na płynnych cezurach Młodej Polski, co zwłaszcza odnosi się do jej początków. Ważny z punktu widzenia badań norwidologicznych okazał się pomieszczony w tej książce szkic o poezji Aleksandra Szczęsnego, traktowanego tu jako „późny wnuk” Cypriana Norwida. Cichym bohaterem niemal wszystkich pomieszczonych tu opowieści o Młodej Polsce jest Baudelaire. Książka napisana jest w duchu korespondencji sztuk – refleksja o literaturze splata się z przemyśleniami na temat malarstwa epoki; autor wyczarowuje aurę młodopolskiego „tu i teraz”, odtwarza klimat tamtej artystycznej codzienności.

EN

The book by Radosław Okulicz-Kozaryna entitled Rok 1894 oraz inne szkice o Młodej Polsce [The year 1894 and other sketches on Young Poland] (Poznań: Wydawnictwo Naukowe UAM 2013) is analysed in this review as some sort of original synthesis of the epoch, which primarily focuses on the fuzzy turning points of Young Poland, in particular in regard to its beginnings. The sketch on the poetry by Aleksander Szczęsny, treated here as a “late grandson” of Cyprian Norwid, also included in this book, turned out to be important from the perspective of Norwid Studies. The quiet hero of almost all the stories about the Young Poland included here is Baudelaire. The book is written in the spirit of correlation between the arts – reflection on literature is intertwined with thoughts on painting of the epoch. The author evokes the aura of Young Poland’s “here and now”, he recreates the atmosphere of that artistic everyday life.

16

TOO MUCH LOVE FOR THE WORLD: APOCALYPSE IN THE WORKS OF T.S. ELIOT AND LARS VON TRIER

62%

Vaso K.

|

tom 17

67-74

PL

W Melancholii Larsa Von Triera Justine, przygnębiona bohaterka filmu, z niecierpliwością oczekuje zniszczenia świata, uznając to za stosowny cel dla siebie i całej nędznej rasy ludzkiej. Film skupia się na apokalipsie, która w końcu jest, i jest piękna. „Na początku jestem moim końcem,/moim końcem jest mój początek”, pisze T.S. Eliot w Four Quartets, choć Von Trier nie obiecuje lepszego świata. Zarówno filmowiec, jak i poeta przeplatają osobisty koniec, dosłowny lub figuratywny, z masowym zniszczeniem. Jednak w filmie cel jest pożądany, a dzięki Justine reżyser sugeruje, że takie pragnienie może wynikać raczej z głębokiej miłości niż odwrotnie. Ta sugestia przypomina opis Waltera Benjamina Charlesa Baudelaire’a jako nowoczesnej melancholii. „Melancholia nie patrzy na ideał”. To sprzeczne z intuicją pochodzenie chęci zniszczenia i płynne przeplatanie się osobistej i globalnej apokalipsy w Melancholii, a także w kilku wierszach Eliota, były przedmiotem mojej pracy.

EN

In Lars Von Trier’s Melancholia, Justine, the film’s depressed protagonist, eagerly awaits the world’s destruction, deeming it a fitting end for herself and the entire miserable human race. The film focuses on the anticipation of the oncoming apocalypse which, in turn, is visually and verbally expressed in beautiful terms and images, implying that, even in the end, there is beauty. “In my beginning is my end, / in my end is my beginning,” writes T.S. Eliot in Four Quartets and while Von Trier does not promise a better world emerging from the ashes of the old one, he does suggest that, regardless of the consequences, the end represents a necessity when life has turned into a senseless and tiring series of farces; the superficial actions lacking content, a phenomenon that Eliot so often sympathetically derides in his poetry. Both filmmaker and poet interweave the personal end, literal or figurative, with destruction en masse. Yet, in the film, the end is desired and, through Justine, the director suggests that such a desire may stem from a too profound love rather than the opposite. This suggestion echoes Walter Benjamin’s description of Charles Baudelaire as a modern melancholiac whose melancholy results not from a refusal of the world but a “doomed flight toward the ideal.” This counterintuitive origin of the desire for destruction and the seamless interweaving of the personal and global apocalypse in Melancholia as well as in several of Eliot’s poems will be the focus of my paper.

17

Korespondencja sztuk, czyli monotonia pagórków

54%

Chlebowski P.

|

tom 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow’s book “Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid” (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem “Nie myśl, nie pisz – podmaluj” (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.

18

Korespondencja sztuk, czyli monotonia pagórków

54%

Chlebowski P.

Studia Norwidiana

|

2012

|

tom 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow's book Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem Nie myśl, nie pisz – podmaluj (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.

19

Fin de l’art ? Noétique de la littérature

51%

Kyloušek P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

|

2022

|

tom 32

|

nr Special Issue

36-54

EN

The transformation of the arts, foreseen and announced by Hegel, coincides with the birth of modernity. One of its essential aspects is the noetic turn in literature, which can be seen as a manifestation of autoreflexivity within the framework of intraliterary dynamics: autoreflexivity engages the questioning of language, it redefines the status of the lyric subject and the narrator, it problematizes discursivity and thus proposes new approaches to referential reality. Literature becomes a specific form of thought and a crucible of reflection by occupying a terrain that neither science nor philosophy could explore, that of existential human experience, not yet conceptualized. Literature thus produces discourses and concepts that can later be grasped and systematized by science and philosophy. An exemplification attempts to illustrate this process from the 19th century to the present day.