Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Dwa teatry Witkacego

100%
Bocheński T.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
|
2012
|
issue 18
207-216
EN
Witkacy disapproved talking about “guts”, that means about trivial feelings, banal experiences, and boring trivial matters of everyday life. The artist had a tragicomic fight with trivial corporeality to preserve some rudiments of spirituality. He understood this fight as opposing to the age that begins to speak only in the materialistic register. Philosophy, art, and everyday life rules generally served the artist as protecting means from the inter–war chaos of reality. Therefore Witkacy defended his own idealized theatre of strangeness of existence before the theatre of banality of existence. Basing on the letters to his wife, we can claim that despite the fight against triviality, more and more place in Witkacy actions is taken by the theatre of banality. Before his wife and selected spectators Witkacy stages a scatological, and an exhibitionist theatre of the artist attacked by everydayness. He confronts his “performances” with life theatre of other people, writing his letters on the back of cards received from others and remaking foreign correspondence. Rewriting letters, ritualizing daily activities, an obsessive control of bodily sensations, a system of symbols describing the effect of stimulants, a controlled hypochondria, or even medical prescriptions were used by the artist to creative processing of boring everydayness. Witkacy was ashamed of the disorganised body and he did not rest in his efforts to organise it. His exposures require a sensitive spectator, who will see the body art in revealed intimacy.
2

Metamorfoza, humor i okrucieństwo nowoczesności. Wypowiedziane przez Brunona Schulza

100%
Bocheński T.
Konteksty - Polska Sztuka Ludowa
|
2019
|
vol. 73
|
issue 1-2 (324-325)
129-137
PL
W eseju autor analizuje podstawowe kategorie Schulza: humor, metamorfozę i materię, jako formy dialogu. W dialogu tym spierają się dwa sposoby widzenia materii: nowoczesna i regresywna. Nowoczesność dążąca do opisania, nazwania i ocenienia rzeczy rozmawia z regresem dążącym do życia, twórczości, poetyckości materii. Schulz z ironią i przewrotnym humorem przywołuje głosy oceniające twórcze działania ojca, by bronić własnego prawa do twórczego przekształcania rzeczy, do metamorfozy. Metamorfozę w twórczości Schulza autor interpretuje jako metonimię twórczości i twórczego istnienia.
EN
The author of this essay analyses fundamental categories applied by Schulz: humour, metamorphosis, and matter conceived as forms of the dialogue, which comprises a dispute involving two ways of seeing matter: contemporary and regressive. Modernity, which aims at describing, naming, and evaluating things, tackles regress striving towards life, creativity, and the poetic nature of matter. Ironically and with perverse humour Schulz evoked voices assessing the creative undertakings of the Father in order to defend his own right to a creative transformation of things, to metamorphosis. Tomasz Bocheński interpreted the latter in Schulz’s œuvre as the metonymy of creativity and creative existence.
3
Publication available in full text mode
Content available

Tuwim’s Dialogues with Banality

100%
Bocheński T., University of Lodz F. o. P., tomasz07@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 36
|
issue 6
EN
The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.
4
Publication available in full text mode
Content available

Witkacy’s Amusia

100%
Bocheński T., University of Lodz F. o. P., tomasz07@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 38
|
issue 8
EN
Witkacy suffered from amusia as a child and as an adult person. He was seriously interested in music only for a little over twenty years (1890–1914?). He wrote his main works as an amusic. The relation between amusia and metaphysical feelings may suggest that Witkacy wrote dramas and created painting compositions in order to evoke the lost strangeness of being. Amusia could have also been the reason for Witkacy’s ambiguity – he was defending and degrading high art at the same time.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.