Wyniki wyszukiwania - Biblioteka Nauki

1

Postmodernizm a ironia w antropologii kultury

100%

Robotycki A. B.

Prace Etnograficzne

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2013

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tom 41

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nr 2

63-73

EN

According to authors opinion irony is one of fundamental ideas giving us one of the ways of thinking of world around us - anthropological thought consideration. Realizing the multiplicity of meanings, polymorphism and inhomogeneous modus operandi by using it notices analogy with every aspect of anthropological recognition - from literal one to methodology and research attitude. Polymorphism of irony is ideal but very hard to use tool, moreover the one which have many ways to operate it. It wouldn´t be misuse if author aligned it with deconstruction, because the similarity is unquestioned though not directly shown in text itself. Such juxtaposition is even more justified if considered with strong philosophic perspective of R. Rorty who had written it in “Final Vocabulary” of postmodernists. The irony can´t be completely defined- being described from centuries it acumulates meanings and attempt of its exact description is pointless - it tends to be equally on same level as deconstruction as well as one above it which may be one of ways to read or construct it.

2

Niepochwytność ironii

100%

Sidoruk E.

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tom 7

PL

Dyskusja nad książką Zofii Mitosek, Co z tą ironią?, Gdańsk 2013.

EN

The text discusses the book "Co z tą ironią?", whose author, Zofia Mitosek, distinguishes between critical irony and irony of doubt. Pointing out the differences in the world view aspect of those two types of irony, Mitosek claims that the first one is specific for “ironic attitude”, while the second one characterizes “ironic consciousness”. The article, however, questions the validity of such categorization in analytical practice. The final conclusion emphasises the fact that it is very difficult to make clear-cut division between the two types of irony.

3

Literacki głos pokolenia X? David Foster Wallace wobec popkultury

88%

Gutowska S.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2017

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nr 8 "Jak czytać (pop)literaturę?"

201-212

EN

The article treats on the life and work of American postmodern writer David Foster Wallace. The subject is undertaken in context of appearance of his writing in the Polish translation (by Jolanta Kozak). The author aims to present Wallace as a potentially interesting writer in the field of Polish literary studies. Next to describing him as a popcultural phenomenon, she puts stress on matters of the texts themselves, such as postmodern irony and psychological issues, corresponding with the writer’s actual experience.

4

Wpływ odmiany kościelnej języka na polszczyznę ogólną na przykładzie ubogacać (się) – ubogacić (się)

88%

Waniakowa J.

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2013

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nr 16

191-200

EN

The article discusses the influence of ecclesiastical language on standard Polish. It first presents the the faults of this variety, and then some examples of the ecclesiastical vocabulary. The author examines in particular one verb that is typical of contemporary ecclesiastical language, ubogacać (się) / ubogacić (się) ‘to enrich (oneself)’. She analyses its historical and present day meaning, its history and the contexts in which it is used, and observes that it has spread out onto standard Polish.

5

Карнавальний топос маски у романах Вiтольда Гомбровича Фердидурке та Гео Шкурупiя Дверi в день

88%

Журба С.

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nr 22/3

51-59

EN

The article is devoted to the study of the features of the mask topos in the novels of Witold Gombrowich Ferdydurke and Geo Shkurupia Doors in the day. On the basis of the basic concepts of carnivalization of Mikhail Bakhtin, features of the functioning of the mask image are considered, which is one of the means of expressing new forms of communication with the recipient and the metaphorical language. The mask in the experimental / avant-garde works determines the individual characters of the characters, contributes to the irony of the grotesque. The mask-stereotype in the novel by Witold Gombrowich is the bearer of a certain set of values of the hero, Geo Shkurupii through the mask of the death of the hero demonstrates the existential choice of the hero.

6

Humor i sztuka. Uwagi typ(k)ologiczne.

75%

Kostołowski A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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tom 19

6-24

EN

In different historic periods, artists used the element of humor in their works of art and the results of their interest can be considered as aesthetic category. Humor was often combined with irony, self-irony, satire etc. Also, it was used as independent form. In popular and not necessarily in artistic work, humor played rather secondary role in the culture. Immanuel Kant and many later authors did not consider, however, humor-art as art-form. The Dadaists and other artists active after the 1960’s did not follow those gloomy ideas of their predecessors. As the result of that change, humor gained a new meaning. Today, the art forms which gained originality and significance because of humoristic content, are considered as important manifestations of art. Among them, special attention should be paid to art-form which gained strength because of their humor. Hence, we might say, as did Marcel Duchamp, paradoxically, that humor contributed to the seriousness of art. Also, we might highlight the role of practical joke.

7

Humor jako element strategii artystycznej - Erwi Wurn i jego dzieła

75%

Śnieciński M.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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tom 19

130-144

EN

Humor is in the very center of E. Wurm’s art strategy. He believes that ‘humor is a weapon’. It is the weapon that allows us to see the world and ourselves without pomposity and solemnity masking the real problems. Humor forms the distance to a variety of phenomena, myths and stereo-types which model modern life. Laughter always includes the form of self-distance (H.G. Gadamer). The text analyzes a series of sculpture-events entitled ‘One Minute Sculptures’ and other works by the Austrian artist produced in traditional carving techniques. They include such elements of humor as ludus and locus (G. Agamben). The text also analyzes the artist’s actions that undermine subjective – objective diagram inscribed in creation and art perception (W. Welsch). It is not without significance that Wurm’s humor and irony are not directed only toward his environment, but also toward himself (self-irony).

8

Monolog ironicznego marzyciela. Don Fernando Pessoa i jego Livro do Desassossego

75%

Radziszewski S.

Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education

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2014

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nr 2(6)

205-228

PL

Niniejsze opracowanie stanowi oryginalny artykuł poświęcony Księdze niepokoju, której autorem jest portugalski pisarz modernistyczny Fernando Pessoa. Celem artykułu jest studium twórczości „samotnika z Lizbony”, który swoje dzieła podpisuje pseudonimem. Badacze twierdzą, iż Pessoa posługiwał się 70 heteronimami, czyli swoistymi (literackimi) sobowtórami, które nie do końca dają się utożsamić z samym pisarzem. Księga niepokoju to właśnie takie dzieło – Pessoa ogłasza swoją powieść jako „autobiografię Bernarda Soaresa”. Artykuł ukazuje, że nie sposób rozdzielić prawdziwego „ja” twórcy od swoistej, ironicznej gry, którą prowadzi z czytelnikiem. Pisanie powieści wydaje się być dla Pessoi antidotum na samotność i ból egzystencjalny (jak u Kafki, Heideggera, Camusa, Becketta), choć praktykowanie jego prywatnej filozofii życia nie jest łatwym zadaniem. Powieść Pessoi jest bowiem planowo chaotyczna i niespójna – jak samo życie, o którym pisarz – w Księdze niepokoju jako Bernardo Soares – mówi gorzko: W nic nie wierzę, na nic nie mam nadziei, nic nie budzi mojej litości. Niniejsze opracowanie w centrum uwagi stawia problem samotności, marzeń i tęsknoty za sensem. Autor przy opracowaniu niniejszego artykułu wykorzystał metodologię semiotyczną i komparatystyczną, stosowaną przez badaczy Katolickiego Uniwersytetu Lubelskiego. Bohaterem Księgi niepokoju jest mieszkaniec Lizbony, który tworzy własny teatr marzeń. Jego życiowa filozofia pełna jest agnostycznych wątpliwości. „Życie nie jest konieczne – konieczne jest pisanie”. Liczy się tylko to, co zostanie zapisane. Ale również w literaturze nie można otrzymać łaski uspokojenia, również ona nie nasyci pragnienia poznania prawdy. I w niej wszystko dokonuje się na krawędzi niepewności, w stanie nieustannego zawieszenia, bez możliwości ostatecznej weryfikacji. Z jednej strony Pessoa jest geniuszem, porównywalnym wielkością (i skomplikowaniem) z najwybitniejszymi – w opinii Antonia Tabucchiego – twórcami (Nietzsche, Pound i Celine, Bataille i Kafka), z drugiej zaś to zwyczajny, zmęczony i znudzony przechodzień, który uwielbia spacery po ulicach Lizbony. Rozważania Pessoi prowadzą na krawędź absurdu – i to jest najlepsze miejsce, aby w zbroi masochistycznego Don Kichota rzucić rękawicę nicości. Jedynym ukojeniem bólu jest Lizbona, stąd Księga niepokoju staje się pochwałą miasta, literackim pomnikiem Lizbony. Wyniki badań nad Księgą niepokoju stanowią dobry punkt wyjścia do poszukiwań bardziej ogólnych, których celem byłoby zdiagnozowanie stanu duchowości człowieka ery postmodernistycznej. Pessoa modernista stanowi – ze swoją oryginalną teorią zagubienia, duchowej dezorientacji, chaosu wewnętrznego, niezdefiniowania – doskonały model, którego analiza może pomóc w diagnozowaniu współczesnych problemów duchowych. Dotychczasowe działania badaczy koncentrowały się głównie na rekonstruowaniu i wprowadzeniu w obieg czytelniczy pisarstwa Pessoi. Jej ekscentryczna oryginalność fascynuje, ale i utrudnia (wręcz uniemożliwia) wszelki opis naukowy. Wydaje się, iż całkowicie świadomie Pessoa zaciera ślady i gubi trop, aby udaremnić jakikolwiek spójny opis własnego dzieła. Tym bardziej przyciąga uwagę i kusi – jego nowatorskie filozoficzne i religijne, estetyczne i psychologiczne, rozważania zasługują na dalsze badania. Zrozumieć dzieło Pessoi – to zrozumieć postmodernistyczny chaos wokół nas i w nas samych.

EN

The present article is an original study devoted to The Book of Disquiet written by Fernando Pessoa – a Portuguese modernist author. The aim of the article is to present the work of this “recluse from Lisbon”, who signed his texts with pseudonyms. The scholars claim that Pessoa used 70 heteronyms, that is literary doubles that cannot entirely be identified with the author. Thus The Book of Disquiet is announced by Pessoa as the autobiography of Bernard Soares. The article shows that it is impossible to separate the true “I” of the writer from a specific ironic game he is playing with the reader. For Pessoa, novel-writing seems to be an antidote against loneliness and existential pain (like in the works of Kafka, Heidegger, Camus or Beckett), although putting his private philosophy of life into practice is not an easy task. Pessoa’s book is intentionally chaotic and incoherent – like real life about which the writer – as Bernard Soares – bitterly remarks : “I don’t believe in anything, I have no hope, nothing evokes my pity”. The present article focuses on the problem of loneliness, dreams and longing for a sense in life and makes use of semiotic and comparative methodologies, employed by the researchers from Lublin Catholic University. The main character of The Book of Disquiet is an inhabitant of Lisbon who creates his own theatre of dreams. His philosophy of life is full of agnostic doubts. “Life is not necessary – writing is necessary”. What matters is what has been written down. But even literature does not provide us with quietude, as it cannot quench our thirst for getting to know the truth. In literature everything borders with incertitude, everything is constantly being held in abeyance, without a possibility of being finally verified. On the one hand, Pessoa is a genius, comparable – in the opinion of Antonio Tabucchi – from the point of view of greatness and complexity with the most eminent authors (Nietsche, Pound and Celine, Bataille and Kafka), on the other hand, however, he is a common, tired and bored passer-by who likes walking in the streets of Lisbon. Pessoa’s reflections lead to the verge of absurdity: this is the best place for a man in the armour of a masochistic Don Quixote to throw down the gauntlet to nothingness. The only alleviation to the pain is Lisbon – hence The Book of Disquiet becomes a praise of the city, a literary monument to Lisbon. The results of the research on The Book of Disquiet provide a starting point for a more general search, the aim of which would be a diagnosis of the spiritual state of the post-modern man. With his original theory of loss, spiritual disorientation, inner chaos and indefinable condition, Pessoa the modernist provides a perfect model for analysis which might help in the diagnosis of contemporary spiritual problems. So far the researchers have focused mainly upon a reconstruction and preparation of Pessoa’s work for the circulation among the readers. His eccentric originality is fascinating, but it makes a scholarly description of his work difficult or practically impossible. It seems that Pessoa intentionally covers up his tracks and throws us off the trail in order to prevent the scholars from making any coherent description of his work. It is tempting and draws our attention even more: his original philosophical and religious, esthetic and psychological reflections deserve further research. To understand the work of Pessoa is to understand the postmodern chaos around us and in us.

9

Eesti rahvussport – suurtest narratiividest variatiivse ja humoorika/iroonilise rahvaretoorikani

75%

Voolaid P.

Mäetagused

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2017

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tom 69

109-132

EN

The paper focuses on the usage of phrases connected to both the serious and humorous representation of (new) Estonian national sports in Estonian online media in the past few years. I suggest to differentiate between official/formal/serious and unofficial/informal/humorous fields of sport, where at one end of the scale there are sports that are based on long historical, cultural, and geographical traditions (wrestling, cross-country skiing, etc.), in which Estonian sportsmen have received international recognition and which have always attracted a big number of amateurs, professionals, and fans. At the other end, there are those “pseudo-sports” that are, above all, expressions of folk creativity; these appear as elements of linguistic-folkloric communication. Within this discourse, a new national sport may be throwing oneself in front of a moving car, picking mushrooms, cursing politicians, laying off workers, spotting speeders in unmarked police vehicles, drinking oneself to death, etc. These are used to bring out the local, stereotypical features of the nation. The tendency of linking specific fields of sport to the ethnic dimension is motivated by the mechanisms of identity creation. At the same time, it points to the cultural importance of sports. Such ironic rhetoric may have a universal dimension. The purpose of the article is to describe and explain these fields of meaning, focusing on the variations and humorous aspects in the data. Sports as such loses its significance in the process and the emotional, stereotype-based and self-ironical point of view prevails. The source data of this study were collected by employing various methods and study environments. The main source comprises 250 responses to a short questionnaire carried out in spring 2017 via forms or handwritten pages. The main result of the analysis reveals how differently Estonians feel about the national sport of their country. The variegated palette of opinions from the responses received pursuant to the survey plan is enriched by the usage traditions established via Internet media. Statistically it is possible to determine the most popular sport among serious or humorous sport disciplines, but there will most likely never be consensus about a favourite sport. Any attempts to forcefully establish a discipline of this kind are clearly useless. In rhetorical discourse the conjuring up of new elements is the aim. Here the general denomination of the ‘national sport of Estonia’ works as a cliché that is constantly being reloaded with new and humorous subject matter in compliance with new socio-cultural conditions. Ethnic self-ridicule becomes a source of abundant improvisation. The favourites in ironic discourse are armchair sport, going to the sauna, and consuming alcohol. Negative addictive behaviour (be it drinking, being a workaholic, violating traffic regulations or something else) stands out as a separate sub-form of national sport. Negative forms of communication (being jealous of your neighbour, intolerance of others, etc.) and personal characteristics that are considered to be stereotypically ethnic (desperation, worrying, bearing a grudge) form an independent subgroup of ethnic self-ridicule. At the same time, there are also neutral (sometimes even positive) activities among humorous elements, such as seasonal activities, e.g. mushrooming and photographing icicles. The great variety of the cliché “The national sport of Estonia is...”, which is so relevant and popular, is testament to the potential of the linguistic creative processes of Estonians, accompanied by playful and entertaining goals driven by joy and merriment.

10

Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana

75%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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tom 19

64-88

XX

Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.

11

„W PRZEDSZKOLU NASZYM NIE JEST ŹLE…”. MOTYW DZIECIŃSTWA W UTWORACH JACKA KACZMARSKIEGO

75%

Karwala M.

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nr 2(21): Literatura i Język

123-133

EN

The article is dedicated to the poetry of Jacek Kaczmarski, best known for his protest songs and often referred to as “the bard of Solidarity”. But he is a more versatile artist than he appears to be in the political songs for which he is chiefly recognized. Kaczmarski often featured children in his poetry for adult audience. The figure of the child in his poems can represent different meanings and belongs to different contexts: politics (the dominant one), family life (the source of strong emotions and noble lyricism), and philosophy (the antinomy between youth and old age as an ongoing interaction that connects spontaneity and wisdom).

12

Otázky ekologickej racionality a pragmatika rečovej komunikácie

75%

Kusá D.

Československá psychologie (Czechoslovak Psychology)

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2011

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tom 55

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nr 1

25-37

EN

Issues of ecological rationality are concerned with psychological criteria of rationality in cognitive processes. Ecological rationality is a key term suggested for an alternative view of relationship between rationality and the phenomena of psychological reality being investigated (Gigerenzer). The study is focused on sociolinguistic conceptions, which define rationality of common talk due to functions of linguistic means and strategies in fulfilling psychological intentions and goals. The analyzed models of common talk (Grice) and common politeness (Brown Levinson) represent shifts from an initial emphasis on logical principles of rational communication to current analyses of psychological environment where language communication takes place. Psychological environment is defined in relationship to the meanings intended and negotiated, to their exchange between social actors in situational contexts of mutuality. Relevance of considerations about cological rationality for interpretation of common talk phenomena is documented by the studies of an irony as a politeness strategy.

13

Fortepian Szopena. Poezja i historia

63%

Cedro A.

Studia Norwidiana

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2012

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tom 30

131-144

EN

The author tries to interpret in a new light a few motifs from Norwid’s masterpiece. It turns out that talking about Chopin changes into remarks on his art, which causes a certain difficulty in differentiating these two planes (biography and music). The motif of the dropped lyre (l. 9) playing spontaneously after Orpheus’ death allows stating that one of the basic themes of Chopin’s Piano is the problem of the life of art after the death of the artist. The poem makes one ask about this particular mystery that decides about the value and immortality of a work of art. Next the historical background is characterized of the origin of the poem and the circumstances and consequences are described of the attempt on the life of Governor Berg, that is, of the events that are thought to be connected with the genesis of the poem. In the last part a new interpretation is presented of the famous ending of the poem (l. 114-117), in which the significance of irony is lessened and the possibility is proposed of an almost literal understanding of the text. It is suggested that the ideal reaching the cobbles should be understood as an analogy to Christ’s Incarnation.

14

Duchowe peregrynacje Gombrowicza

63%

Hamze D.

Studia Slavica

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2013

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tom 17

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nr 1

23-32

EN

The avowed “atheist” Witold Gombrowicz is secretly worshipping the greatness of Spirit, covertly searching its traces in the In-Between-The-Forms. In the permanent oscillation between two Forms, the author builds a marvellous and invisible Spiritual tower, whose mimicking hypostases (incarnations) fill even the Interpersonal (“Godless”) Temple. The “sacral” ugliness of Yvonne “unearths” the spiritual embryos of the “sophisticated” royal society and reflecting its outlook, deformed by Spirit triggered scruples, causes her own death, bearing the sadistic seal of her aristocratic environment (Yvonne, Princess of Burgundy). The Spirit peers through and spills its magic into Fryderyk’s Director project, while it has fully infiltrated the love-filled space of Youth and Immaturity (Pornography). Pierced by the shattering Spiritual presence, Henryk cannot accept his own alignment with God and issues his own death sentence (Wedding), while the omnipotent Universe, run by the Spirit, sends the narrator a system of paradigms for proper appropriate decoding (Universe)…

15

Popaschalne świadectwo Parakleta o sądzie Boga nad „światem” w ujęciu J 16,8-11

63%

Kot P.

Verbum Vitae

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2014

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tom 26

71-93

EN

Holy Spirit plays an important role in the theology of the fourth Evangelist. During the Last Super, and therefore right before his death, Jesus from Nazareth not only foretold the coming of the Holy Spirit, but also designated the nature of his mission. The Paraclete, as Jesus calls him, will “testify about” Jesus (John 15:26) and “will demonstrate to the world what sin, righteousness and judgment are about” (John 16:8). Many scholars, while interpreting these words, point to the juridical function of the Paraclete. Accordingly, the Paraclete would pass right judgment on the world in view of the sin of unbelief. However, a detailed exegetical analysis, taking into account the various narrative techniques employed by the author of the fourth Gospel, among them the technique of misunderstanding, allows for a different interpretation of Jesus’ words. Accusations against Jesus are very frequent in the fourth Gospel. The “world” calls him a “sinner” (8:46) and “one who blasphemes” (10:36). In the context of such charges, the passing of judgment on Jesus, as well as his crucifixion and death, were understood as a revelation of God’s justice in regard to Jesus. The Paraclete’s mission will consist in revealing to the “world” and to the disciples the meaning of these events in a reversed perspective. John describes his task by the u se of the technique of irony. The Paraclete will reveal as true that Jesus indeed accepted death as a “sinner”, but in the sense of expiatory sacrifice antitype. For that reason, the justice of God has been realized not “in regard” to Jesus, but “in Jesus.” As a result, the “world’s” judgment on Jesus has, in fact, initiated God’s judgment on the “world” and its ruler. The Paraclete is to give a testimony about the victory of life over death in Jesus Christ, and thus to lead the “world” to faith, and the disciples to the fullness of faith.

16

Proza moralitetem podszyta. O modalności utworów Magdaleny Tulli

63%

Węgiel-Wnuk M.

Śląskie Studia Polonistyczne

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2015

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nr 1(6)

241-254

EN

Although lacking elements of the poetics of drama, Magdalena Tulli’s prose draws extensively from the traditional Medieval morality play. The key figure here is allegory, which is often used in accordance with the convention of the morality play. This connection is referred to by the author of the following essay as the modality of the morality play, assuming the understanding of the category of modality after Włodzimierz Bolecki. In Tulli’s prose it manifests itself in that the plot is set beyond historic time and usually beyond specified space; the boundaries of the world are ultimately set by the distances between actors and props. Tulli’s writing refers the reader to universal issues present nunc et semper. She readily uses the concept of en ronde scene as a sole place of action (for instance the municipal square in Skaza). Before the eyes of a viewer – reader, she develops a plot told by allegoric characters; she does not give up moralizing but avoids exaggerated didacticism. The morality mode in Tulli’s writing is realized through the philosophical thesis of constantly emphasized inevitability of wander from birth to death.

FR

Malgré l’absence des éléments typiques du drame, la prose de Magdalena Tulli puise fortement dans la moralité médiévale. L’allégorie, en tant que figure clé, y fonctionne souvent selon les règles caractéristiques justement pour la convention de moralité. L’auteure de l’essai définit cette corrélation comme modalité de moralité, en adoptant la conception de modalité analysée dans le contexte des études littéraires par Włodzimierz Bolecki. La modalité de moralité dans la prose de Magdalena Tulli s’exprime par le fait que l’action de ses ouvrages se déroule en dehors du temps historique et, d’habitude, en dehors d’un espace déterminé ; les distances entre les acteurs et les accessoires constituent l’instance ultime des dimensions de l’univers. Ces oeuvres littéraires renvoient aux problèmes universels, présents nunc et semper. Elles appliquent volontiers le concept scénique en ronde comme le seul lieu de l’action (par exemple la place publique dans Skaza). Sous les yeux du spectateur-lecteur, elles content une histoire narrée par des personnages allégoriques ; elles ne renoncent pas aux fonctions moralisantes, mais elles évitent un didactisme exagéré. Par contre, c’est bel et bien la thèse philosophique qui porte les marques de la moralité dans la création littéraire de Tulli – elle souligne constamment l’inévitabilité du voyage qui se fait depuis la naissance jusqu’à la mort.

17

Niejednoznaczny status tekstu parodiowanego w dyskursie satyrycznym

63%

Sidoruk E.

Zagadnienia Rodzajów Literackich

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2014

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tom 57/114 z. 2

53-63

PL

Przedmiotem analizy w artykule jest relacja między parodią i satyrą. Odwołując się do, zaproponowanej przez Paula Simpsona w On the Discourse of Satire, koncepcji satyry jako praktyki dyskursywnej, autorka wskazuje na przyczyny nieporozumień interpretacyjnych wynikających z zastosowania parodii w tekście satyrycznym. Jej zdaniem parodia utrudnia identyfikację intencji satyrycznej, zwłaszcza wtedy, gdy obiektem parodii jest tekst literacki o wysokich walorach artystycznych. W niektórych przypadkach niemożliwe okazuje się jednoznaczne rozstrzygnięcie, czy parodiowany tekst służy jedynie satyrycznemu ukazaniu pewnych aspektów rzeczywistości pozaliterackiej, czy jest również obiektem krytyki.

EN

The subject of analysis in this article is a relation between parody and satire. With reference to the concept of satire as a discursive practice proposed by Paul Simpson in his work On the Discourse of Satire, the author points out the reasons for interpretative misunderstandings caused by the application of parody in a satirical text. She claims that parody makes it difficult to identify a satirical intention, especially when the object of parody is a literary text of great significance. In certain cases it seems impossible to decide unambiguously whether a parodied text is only used to satirize some aspects of non-literary reality or is also a satirical target itself.

18

Między karykaturą a ironią w wybranych obrazach Quentina Metsysa

63%

Strug A.

Roczniki Humanistyczne

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2013

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tom 61

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nr 4: Historia Sztuki

81-102

EN

For centuries the face has been considered an important part of the human body. Since ancient times until the present day a close connection with a man's inner (spiritual, psychological) properties has been ascribed to his face. The individual character of a person that finds its reflection in his/her physiognomy is a domain of interest of the portrait as a separate genre in art. The meanings that have been ascribed to the face have to a certain degree determined the ways it has been presented in European visual arts. The image of an ugly face has become one of the variants of presentation of this part of the body. Ugliness of the human face may have various forms. We know of presentations of deformed physiognomies, which resulted from experiencing strong emotions, as well as of images of evil figures to whom ugliness is ascribed as a feature resulting from the moral appraisal. One of the kinds of portrait compositions using deformed shapes of the face is caricature. It aims at ridiculing the presented person by deforming and magnifying its chosen features. Ugliness is in a way connected with humor. This connection can be seen, among others, in caricature that arouses amusement. Among the presentations that provoke laughter several varieties of humor may be distinguished. One of its kinds is irony. The main motif of the present paper is searching for this kind of humor, in which the element of criticism and of ridiculing another person can be seen. Two Quentin Metsys’s paintings were analyzed: „Ecce homo” from the Palazzo Ducale in Venice and „A Grotesque Old Woman” from the National Museum in London. Some traits of irony that are suggested in these works are an inspiration for further studies in this field.

19

The Melancholic Irony of Kierkegaard

63%

Cȃmpean F.-V. , Babeș-Bolyai University C.-N. , The Romanian Academy B.

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2016

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tom 35 B (4B)

EN

The Socratic truth is in no way inferior to the Christian one in Kierkegaard’s view. The fundamental difference between the two is that whereas the later develops by means of a donation and of a specific dialectic as such, the former is hidden within the negative and antidialectical discourse of irony. We can therefore maintain that irony always pertains to the melancholic dimension of existence. My work aims to consider irony as a melancholic negativity, insofar as it is closely related to the demonic silence and void and as it rejects the wholeness of philosophical language. Sickness and health, symptom and remedy, the Kierkegaardian irony is melancholic because it perpetually suffers from its own re-opened wound, which allows us to interpret it from a psychoanalytical standpoint. Thus, the affinity between Kierkegaard and psychoanalysis sustains a Lacanian approach to the melancholic irony, in order to clarify its function in pinpointing the “real” truth of existence through a resistance to language.

20

Между поэтикой и поэзией: Несколько замечаний о стихах Глеба Глинки

51%

Apanowicz F.

Studia Rossica Gedanensia

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2014

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nr 1

239-247

EN

The article is an attempt of deepened reading of a few chosen poems by Gleb Glinka, the Russian poet of the second emigration wave. As a professional literary scholar, dealing with the poem theory in particular, he was familiar with all versification techniques and used to apply them in his poetry with great mastery. In his poetic arsenal he had lexical games (juggling with the meaning of words), syntax innovations, as well as different intertextual references: irony, pastiche, parody, literary polemics, numerous reminiscences etc. Although he stood on a traditional ground of poetics rules, in reality Glinka was in fact modern, more often than not using poetic means of avant-garde and post avant-gardism.

PL

Artykuł jest próbą pogłębionego czytania kilku wybranych wierszy Gleba Glinki, rosyjskiego poety emigracyjnego drugiej fali. Jako profesjonalny literaturoznawca, w szczególności zajmujący się teorią wiersza, doskonale znał wszystkie techniki wersyfikacyjne i stosował je w swojej poezji z dużą maestrią. Do arsenału jego chwytów poetyckich, nie tylko wersyfikacyjnych, należą między innymi gry leksykalne (żonglowanie znaczeniami słów), innowacje składniowe, a także różnego rodzaju nawiązania intertekstualne: ironia, pastisz, parodia, polemika literacka, rozliczne reminiscencje itp. Mimo iż wyznawał on tradycjonalistyczne poglądy na zasady poetyki, w swojej praktyce poetyckiej jest Glinka w istocie nowoczesny, nierzadko czerpiąc ze środków poetyckich awangardy i nurtów postawangardowych.