Heterotopie Brunona Schulza jako geopoetycki znak miasta
Bruno Schulz’s heterotopies as a geopoetic sign
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The Schulzian character identifies himself with the city and is therefore not only aware of the urban space but also creating it, as he overcomes a set of obstacles, crosses boundaries and limits in creating labyrinth spaces (mazes of buildings, mazes of nature, mazes of time, and mazes of mental realm). His wandering, however, are taking place not only through the streets of the city but also through the labyrinths of sleep and night. In Schulz’s works, dreams and reveries are not so much the outcome of the individual author’s process of implementation of imagination and of other mental creative phenomena as they are a symbolic outlook upon the image that becomes the most optimal way to achieve the extra-verbal actuality – i.e. the actuality in absolute terms and not the individual symbolic actuality. A number of authentic toponyms and loci, presented as a merger of autobiographical memory and the memory of culture in Bruno Schulz’s prose, is building up a range of heterotopies, peculiar places – like, for instance, the heterotopy of the home and the street and their respective subheterotopies of the room, the corridor, and the stroll through the streets; the heterotopy of the train and of the sanatorium as a concealed marginal side of the real actuality; the heterotopy of the Book, of the stamp album and panopticon (waxwork exhibition) as an implementation of the connection between individual and the collective history. All of the above go way beyond the real time and space of the city and constitute the sign of geopoetic knowledge of the city – viewed both locally and internally (i.e. of the author and the narrating character) and internally, as common knowledge which anyone may access. From the standpoint of geopoetics, the important point for all of these heterotopies is the experience of the places and the role of a specific place in that experience.
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