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Inne miejsca – filmowe obrazy antykwariatu jako heterotopie

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Górecka E.
Przestrzenie Teorii
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2019
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issue 32
EN
Górecka Ewa, Inne miejsca – filmowe obrazy antykwariatu jako heterotopie [Other Places: Cinematic Images of Antiquarian Bookshops as Heterotopias]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 197–211. ISSN 1644-6763. DOI 10.14746/pt.2019.32.10. An antiquarian bookshop is a compelling site in the space of culture. Its history and its dense network of associations with an array of other cultural phenomena (e.g. fetishism, collecting, the rise and roles of libraries and museums, to name but a few) have long captivated creative practitioners – writers, painters and film-makers. 84 Charing Cross Road by D.H. Jones, The Ninth Gate by R. Polański and Antykwariat (The Second-Hand Bookstore) by M. Cuske are films in which antiquarian bookshops are appointed similarly central roles, but which at the same time differ from each other generically, each of them being a generic hybrid. In their cinematic renderings, the antiquarian bookshops appear as heterotopias in the sense proposed by Michel Foucault. The representations of the antiquarian bookshop revolve around its otherness vis-à-vis their surroundings, and frame it as unique, functionally variable within culture (a trading venue vs. a meeting point; a trading venue vs. a microcosm) and time-accumulating (heterochrony). Though generically disparate, the cinematic images of the antiquarian bookshop are all intimately embedded in Western culture.
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Holland as a space of knowledge and cognitive receptivity: The image of the Netherlands in Olga Tokarczuk’s Flights from the perspective of looking

100%
Górecka E.
Neerlandica Wratislaviensia
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2019
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vol. 29
71-85
EN
Olga Tokarczuk’s writings are preoccupied with the entropy-ridden world. Tokarczuk renders this world in polyphonic images, and her protagonists seek to establish their identities by redefining their relation to it. In Flights, a prominent place on this world’s map is ascribed to Holland, whose image, when studied through the lens of imagology, turns out to be a space of knowledge and cognitive receptivity. Organised within the framework of selective attention, the representation of Holland is focused on perception of the narrator and of the protagonists, which conveys the attitude to the world identified with the text. Examination of the literary vision of the Netherlands and Dutch culture reveals Tokarczuk’s strategy of foregrounding selected enclosed spaces (interiors) which serve as the loci of knowledge (Verheyen’s study, De Waag and Ruysch’s home). Such a portrayal of Holland is underpinned by self-images exemplified in ideas developed by philosophers linked to this country (Descartes and Spinoza) and in art, with which the writer engages in dialogue. Explored in imagological terms, the representation of the Netherlands is a non-stereotypical vision constructed through references to an array of cultural expressions produced by the Dutch, in which the past co-generates a palimpsestic picture of the present.
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