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1

PARIS (Paryz)

100%
Rutkowski K.
Teksty Drugie (Second Texts)
|
2008
|
issue 4(112)
169-176
EN
Paris is a grand 'Book of Signs', a thing the great Frenchmen: Hugo, Balzac, de Nerval, Baudelaire - the thoughtful readers of the Book - knew well. Paris sucks poets into a whirl, affects their imagination and sensitivity, forces to contrive new genres of utterance. For Mickiewicz, Paris was infernal for it metaphorically assembled the whole evil, being the capital city of the world of those days. Mickiewicz, who had decided to fight evil and transform people, redeem the world and liberate Poland, became aware that Paris was the only place where to possibly take such actions - as it was the Book and the hell in one. Slowacki deemed Paris a reptile and a dragon, a living entity whose existence was independent of people's will. Paris formed Parisians, and Parisians lived the kind of life permitted by the dragon.
2

O wyrażeniu служитель культа w języku rosyjskim okresu radzieckiego

100%
Rutkowski K.
Prace Językoznawcze
|
2006
|
issue 8
41-48
EN
The problem of functioning of the phrase служитиель культа in the Russian language during the Soviet times is analysed in this article. The research, which was based on the Russian descriptive dictionaries edited before and after the October Revolution, showed that the phrase служитиель культа has appeared in the beginning of the Soviet period. It was created for the needs of the formal Soviet terminology and it was used in the antireligious propaganda language to designate the clergy. The analysis proved that this phrase had the pejorative connotations originally so it was used in the process of depreciating some elements of the Ortodox culture (i.e. in the lexicographic description of religious lexis). In the newest Russian dictionaries the analyzed phrase is presented as getting out of date. Currently, it has being replaced by a neutral phrase – служитель церкви – which was already used before the Revoluton. This fact proves the negative connotations of the phrase служитиель культа.
3

ANTHROPOGENESIS AND A TICK (Antropogeneza i kleszcz)

100%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 2(281)
176-177
EN
Baron Uexküll was a greatly original thinker endowed with a sense of humour and cosmic imagination, who claimed to have kept an unfed tick absolutely isolated in laboratory conditions (the tick was unable to find a victim) for 18 years. The insect sank 'into a state of anticipation', a dream-like condition resembling the process of falling asleep experienced by us each night. Uexküll could not find an explanation for the tick's longevity. He wrote that: 'Time does not exist without the existence of a living organism', and Agamben added: 'What happens to the tick and its world, asleep for 18 years? How is it possible for a living organism, whose life depends entirely upon 'significant points' to survive for so long while deprived of them? How can one speak about 'waiting' beyond time and the world?'.
4

NYMPH (Nimfa)

100%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 3(286)
152-159
EN
The Nymph is associated with the choreography of desire and death which Aby Warburg described as the stylisation of energy or figures of the lushness of life. The Nymph renders struggle erotic, and reveals unconscious bonds between aggression and desire. For this reason Warburg was interested in the motif of violence, abduction, the erotic chase or the 'erotic victory' of the Nymph over her wounded opponent (Judith by Botticelli, Death of Orpheus by Mantegna or Dürer). The Nymph is an erotic force, and the battle is fierce due to the cruelty of Eros. Not only does the Nymph concentrate the strife in her body but she also becomes an amorous confrontation, a knot of desires. In doing so, she turns into a Maenadis succumbing to Dionysian frenzy.
5

WANDERING WRITING. PARIS AS A BOOK OF SIGNS (Wlóczegopisanie. Paryz jako ksiega znaków)

100%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
31-39
EN
'Le Livre des passages' is strange work and must be read in an equally unusual manner: this is a book which opens itself on a page of its own choice and compels the eye of the reader-flâneur to delve into a certain fragment, particle or voice. A Book of Passages written by a tramp calls for a reader who is a vagabond, a brigand, and an assailant. For Benjamin, just as for Balzac, Nerval and Baudelaire, Paris was a book of signs endowed with an inexhaustible narration potential, resembling a generator of the senses, working incessantly and at top speed. The task of the poet-flâneur consists, therefore, of indicating the multi-voice, ungrasped and ungraspable richness of simultaneously transpiring narrations.
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