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„Dziennik, nie dziennik. Takie tam”. O malych narracjach Macieja Malickiego

100%
Marciniak H.
Pamiętnik Literacki
|
2012
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vol. 103
|
issue 2
101-113
EN
The paper is devoted to short narrative forms in Maciej Malicki’s literary creativity. The author focuses here on trans-genre shifts between a diary, a story, a novel, a poem, a letter, a fairytale etc., as well as on more general question of blurred borderlines between literary fiction and autobiographical document. How does Malicki play with conventions of autobiographical writing and how does he transgress them? What seems to be the most accurate concept for such writing practice is Serge Doubrovski’s autofiction. According to Przemyslaw Czaplinski, what is typical of late modernism Polish prose is generic, narrative and stylistic diversity and hybridity, as well as indeterminate (non)fictional status. Of paramount importance here is total revaluation of early modernist narrative pattern and a crisis of the Grand Narrative. The article is an attempt to show how this revaluation works in Malicki’s short autofictional texts.
2
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Tadeusza Różewicza architektonika doświadczenia

100%
Marciniak H.
Wielogłos
|
2007
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vol. 1
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issue 2
PL
TADEUSZ RÓŻEWICZ’S ARCHITECTURE OF EXPERIENCEThe article is devoted to Różewicz’s poetic imagination, and above all to the images associated with the motif of the monument. I also regard the motif of the cathedral and the stone as variants of this central topos. The above motifs serve as interpretative trails in the analysis of the essay What Has Remained of the Unwritten Book About Norwid (as well as of the poem An Evening in Norwid’s Honor) which constitutes its fundamental element. I am especially interested in the commemorative dimension of the „monumental” topics and its connection with Różewicz’s concept of autobiographical poetry.
3
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Wizualna przestrzeń postpamięci. Poetyka sekundarnego świadectwa w nożyku profesora Tadeusza Różewicza

100%
Marciniak H.
Wielogłos
|
2013
|
issue 1 (15)
PL
The visual space of postmemory. The poetics of secondary testimony in Tadeusz Różewicz’s nożyk profesora (professor’s little knife) This essay discusses the problem of postmemory and secondary testimony, including their visual and textual manifestations in Tadeusz Różewicz’s late poem nożyk profesora (2001). The essay deals with theoretical background of the concept of postmemory (according to Marianne Hirsch and Dori Laub) in its psychoanalytical and aesthetical aspects. It focuses on the experimental style and composition of Różewicz’s poem which combines visual (3 photographs) and textual (or, more precise, intertextual) means of expression to articulate a multilayered and polyphonic secondary Holocaust testimony.
4
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Zrození autobiografického subjektu. Máchův intimní deník a moderní básnické deníky ve vztahu k romantické ideji subjektivismu

100%
Marciniak H.
Poznańskie Studia Slawistyczne
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2011
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issue 1
EN
My text is an attempt to apply Charles Taylor’s theory, dealing with the origins of the modern self, to Czech autobiographical literature originating in Romanticism. Taking a cue from Jean Starobinski and Philippe Lejeune’s concepts of modern autobiography, I analyse Karel Hynek Mácha’s personal diary from 1835 and try to find and emphasize its narrative and compositional aspects, which anticipate the poetics of modern poetic diaries.
5
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Obraz fotograficzny – między archiwum a pozorem. Fotografie w „nożyku profesora” Tadeusza Różewicza

100%
Marciniak H.
Przestrzenie Teorii
|
2014
|
issue 21
195-208
EN
This article explores the issue of postmemory and secondary witnessing as dealt with in Tadeusz Różewicz’s 2002 poem The Professor’s Little Knife. The paper presents two photographs which refer to the problem of the Holocaust’s representation and its limits. The first picture comes from the collection of the U.S. Holocaust Memorial Museum; however, the author concealed its origins and changed its appearance so that it resembled a retro nude photograph. The second one is a raw, non-stylized picture of a knife that belonged to Professor Porębski during imprisonment in Auschwitz-Birkenau concentration camp. By using various interpretation methods, such as the deconstruction of an image or empathic reading, the author of this article examines the limits and consequences of treating a photograph as “spectral evidence”.
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