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1

Blood and tears

100%
Czaja D.
Teksty Drugie (Second Texts)
|
2006
|
issue 3(99)
188-201
EN
This text is yet another attempt at taking up the immortal question reappearing seasonally in university or college seminars in humanities: Can interpretation be scientific? Can an act of interpreting, understood as responding to the call and meeting the challenge posed by a text (or, by 'texts', in a broad semiotic meaning), aspire to be termed 'scientific', as per the customary explanation of the term? If, namely, there is always someone's subjectivity behind an interpretative gesture, whereas striving for objectivity - or, inter-subjective communicability - is part of the essence of science, then, is it not so that the notion of 'scientific interpretation' proves to be a classical example for quadrature of the circle? The author also attempts at responding the question of why science - understood for the purpose as codified rules of a methodological game - is so much afraid of interpretative subjectivity, and, at the end of the day, why it strives so insistently for taming any interpretative passion.
2

Francis Bacon: Traces of a Catastrophe

100%
Czaja D.
|
2007
|
vol. 61
|
issue 3-4(278-279)
153-162
EN
Not surprisingly, paintings by Francis Bacon were usually commented by resorting to an instrumentarium derived from a dictionary of the history of art. The author proposed a different perception and tried to view Bacon's works thorough the prism of concepts not from the realm of aesthetics but theology. By referring to numerous statements made by assorted commentators he traced the obstinately recurring motif of evil. This is a proposal to treat Bacon's oeuvre as a painterly introduction of the presence of evil and as sui generis 'theological treatises' stressing the motif of irremovable evil in human existence, a strong presence of the infernal element in the world.
3

Dakar

100%
Czaja D.
|
2007
|
vol. 61
|
issue 3-4(278-279)
223-225
EN
The titular 'Dakar' is not understood as a sign referring to the capital of Senegal but is treated predominantly as a word, a linguistic reality. In his demonstratively subjective text the author, inspired by some of Michel Leiris' ideas, reveals his own associations and the sound aura surrounding this word.
4

Judith's Cut: The Excesses of Exegesis

100%
Czaja D.
|
2007
|
vol. 61
|
issue 3-4(278-279)
66-74
EN
The Biblical Judith occupied a significant place in the private mythology of Michel Leiris, peopled by numerous female figures. Her portrait, outlined in the autobiographical 'L'Age d'homme', differs considerably from the characteristic in the Old Testament Book of Judith. The author closely follows the changes and transition of meaning to which Judith had been subjected in comparison to her Biblical original. Furthermore, he reveals the peculiar exegesis conducted by Leiris, indicating that despite the fact that its deciphering cannot be defended upon the basis of an exegesis subjected to methodological rigours, it still possesses an indispensable existential value; reading it is treated in the categories of 'creative treason'.
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