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Przestrzenią staje się czas. Gesty nostalgiczne i melancholijne Pamuka i Pessoi

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Roszak J.

tom 3

p. 159-173

A special interest in geopoetics, a flourishing idea since the 1980s of the 20th century, may be observed to have developed in the areas of Central and Eastern Europe and in Germany. As an inhabitant of these regions, I am interested in how authors deriving from other corners of the European continent fit in the frame of geopoetics. This article concerns the Portuguese writer Fernando Pessoa and the Turkish writer Orhan Pamuk, both of whom had come from imperial empires (Portugal and Turkey, respectively) that no longer possess their numerous colonies and could now be thought to be yearning for their lost power. In Pamuk’s Istambul and Pessoa’s The Book of Disquiet, I discuss how these writers tackle the epistemology of nostalgia (saudade, hüzün, dor) and space.

Dworzec i katedra. Miasto i architektura w powieściach Chestertona

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Schenkel E.

tom 3

p. 255-264

Chesterton was a very visual writer and architecture plays an interesting, though somewhat neglected role in his works. It reflects human strengths and weaknesses as well as religious and political attitudes. Such functions can be seen in The Man Who Was Thursday with its tunnels, labyrinths and secret shelters. Architecture here is meant to protect, but also to dissociate the anarchists from social life. Eccentricities and the return to Nature may also be reflected through architecture, as in The Club of Queer Trades. Or, architecture may be seen as dangerous – a moral temptation – as in the Father Brown story, “The Hammer of God”, where the spire of a church nourishes ideas of the superman in a local priest and turns him into a murderer. This leads to the question of how Chesterton looked at sacred architecture, especially Gothic cathedrals. He discovered his own sense of the fantastic in them (“On Gargoyles”) but also used them in his Christian crusade. His major contribution is that he rediscovered sacred symbolism in railway stations and other secular places but he also studied architecture in everyday life. Thus Chesterton links his architectural thought to his general message: i.e., to rediscover the everyday world as an arena of surprising adventures, in other words, to make life worth living.

Wpisanie polityki w przestrzeń. „Stracone złudzenia” i dwuznaczność Balzakowskiej topografii

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Séginger G.

tom 3

p.239-253

In Lost illusions, Balzac expressed his doubts and criticism concerning Restoration. However these opinions are not openly expressed, but inscribed in the presented world. Novelistic Angoulême – as well as Paris – is the city where topography is the reflection of social tensions, political connections and class oppositions. The space has a dual character – divided into the province and the capital. In the novel it turns out that Paris is not the center which establishes the rules – it turns out to be a fallen and infernal city forcing his inhabitants to agree to a compromise which is supposed to bring them profits in the future. The French capital seems to be the space of constant disturbance and endless anxiety. Despite that, in Lost illusions the critical vision of Paris is accompanied by the fascination which anticipates Baudelaire’s and Huysmans’ oeuvre.

Miasta za żelazną kurtyną. Warszawa – Tadeusza Konwickiego, Bukareszt i Timiszoara – Herty Müller

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Paprocka-Podlasiak B.

tom 3

p. 117-136

The paper presents the picture of the city in communist totalitarianism on the basis of Tadeusz Konwicki’s prose (Ascension, Minor Apocalypse) and Herta Müller’s prose (Hunger and Silk; Even Back Then, the Fox was the Hunter). It depicts different aspects of the way the city functions as a place appropriated by the totalitarian system and – what is important – harnessed into a service to totalitarian authorities. The aim of this comparative study is to juxtapose two viewpoints of life in the city behind the Iron Curtain: the depiction of Warsaw in Konwicki’s novels as well as the descriptions of Bucharest and Timisoara in Herta Müller’s prose. In the case of these two writers, common levels of perception of the totalitarian city might be distinguished, such as: the city as a Kafkaesque “castle”, the city as an arena of the Apocalypse, the city-prison and the city space as Trauma-Raum.