Wyniki wyszukiwania - Biblioteka Nauki

1

A Fox in the Land of Ulro: Miłosz and Beckett

100%

Kopciński J.

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nr 1

EN

In the sketch I present Beckett as a representative of western civilisation and a dialogue between Beckett and Czesław Miłosz. A characteristic outcome of this confrontation are the instruction for the habitués of the Urlo Land (Ziemia Urlo): cultivation of love for order, exercising the memory against the flow of time, choice of goodness despite the unmitigated evil, faith in what is visible, love for facts and search for meaning.

2

Voluntary and involuntary memory in Samuel Beckett’s Krapp’s Last Tape

80%

Uchman J.

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2016

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tom 15

EN

Even though Krapp’s Last Tape presents a single character on the stage, it does not seem to adhere to the typical characteristics of a monodrama since, in fact, we become acquainted with three different Krapps. On the one hand, there is the 69-year-old Krapp visible on the stage, celebrating his birthday, and on the other, there are two more Krapps, who are not present physically, but only aurally – the first one existing as a voice on a recording made thirty years ago, and the second mentioned by the voice. These are his alter egos preserved on some tapes from the past. The drama presents the sameness and the change of Krapp over several years. At the same time, it deals with the concepts of voluntary and involuntary memory which are explained by Beckett in his Proust essay. The first kind of memory is dominated by a person’s will to preserve certain things for the future. The remembrances, thus saved, are static and do not change with the passage of time. The tapes indicate what Krapp decided to commemorate in the past. As the play progresses the clash between the past, as he wanted to remember it, and the past as he actually recalls it, becomes evident. The present Krapp does not recall certain things, which were of vital importance to the past Krapp. The dynamic interplay of voluntary and involuntary memory seems to be one of the most intriguing features of the drama.

3

When the Mind Becomes a Place: The Modernist Psychological Novel

60%

Terentowicz-Fotyga U.

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nr 1(125)

9-23

EN

The paper focuses on the modernist psychological novel as a genre that dramatizes the radical transformations of spatial and temporal categories of the time. The genre is often identified with the narrative experiments of stream of consciousness, which represent the mind in and through time. Yet an equally important inheritance of the generic experiments is the spatialization of the mind — understood in the context of the spatial conception of human subjectivity and in terms of the spatial character of inner reality. The paper argues that the most vivid spatialization of the mind is evident in the portrayal of schizophrenic experience and demonstrates the thesis in the analyses of two novels — Virginia Woolf’s The Waves and Samuel Beckett’s Murphy.

4

Spotkania z przeszłością w Ostatniej taśmie Samuela Becketta i Uchu Igielnym Wiesława Myśliwskiego

60%

Strąk M.

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tom 64(4 (471))

60-72

PL

The aim of the study is to compare Samuel Beckett’s monodrama Krapp’s Last Tape (1958) and Wiesław Myśliwski’s novel Ucho Igielne (2018) in the context of the construction of time, which, despite the genre and content differences between those literary works, is parallel. The characters are returning to the past by reconstructing the figure of their younger selves and entering into a specific dialogue with them. The relationship between the past and the present is interpreted in the context of Paul Ricoeur’s concept of narrative identity. Each of the works is an unusual study of the old age and the structure of human memory.

5

Nesrozumitelnost světa a nevymezitelnost viny: kafkovské poznámky

57%

Koťátko P.

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tom 31

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nr 1

26-40

EN

The paper focuses on the functions of detailed analyses and pedantic explanations of situations and events provided by Kafka’s characters. Taken together, they create the impression of a solid orientation within the system. Nevertheless, the more elaborate and compact they are, the more they make it clear that the system, by its very nature, resists understanding. The incomprehensibility of the world, amplified by explanations, implies the inextricability of guilt (in analogy to Quine’s inextricability of meaning): it is impossible to identify those elements of the protagonist’s biography which constitute his guilt and separate them from the “innocent” rest.he article overviews the evolution of The Art of Translation by Jiří Levý starting with the genesis of the original Czech version, which can be considered the culmination of the author’s academic career. The first foreign languages the book was translated into were German and Russian. Since the Czech original was strongly imbedded in the Czech culture and literature, the translation required adaptations to the target cultures. The paper aims to trace the translation process of Levý’s publication with the main focus on its German version. Together with the Czech original, this version served as the basis for the second Czech edition. the final part of the article focuses on the international reception of Levý’s masterpiece and introduces its recent translations into foreign languages.

6

„Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru

51%

Żurawski M.

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nr 174

186-202

EN

Duszyczka (A Little Soul) by Tadeusz Różewicz was the penultimate production staged by Jerzy Grzegorzewski and at the same time the director’s last production, included in the repertoire of the National Theatre for seventeen years after his death. The author, a theatre historian and archivist, researcher of Grzegorzewski’s work and a multiple viewer of Duszyczka, attempts to describe the life of the play, which despite being deprived of the director’s care, nevertheless retained the shape given to it by the author to the end. He draws attention to how the aging of the performance, both in the metaphorical and quite literal sense (the physical aging of actresses and actors, the wear and tear of the stage objects) may have affected its reception. To this end, he confronts the surviving archival documentation of the performance with the personal experience of a multiple viewer. Despite the author’s declared reluctance towards this methodology, the article can be categorised as part of the current of the so-called affective archive.