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Locked in the Library: Reflections on Metanarratives and Academic Weltanschauungs The main idea underlying the article is that of the interdependence between the essential notions of the central metanarratives of logocentric cultures and the inventory of concepts available as keywords for academic research. In other words, the argument of this paper is designed to draw the attention of the reader to the fact of the interdependency between the language used to describe the world and the existence (or inconceivability of existence) of entities inhabiting it. The starting point for the musings collected here is Ludwig Wittgenstein’s famous adage, which provided the motto for the present observations. Departing from there, the argument develops into a deepened reflection concerning the limitations of the development of knowledge in a logocentric world. Eventually, it leads to the question of discourses which dictate the characteristics of everyday strategies of library and Internet research, as employed by students and scholars alike. The final part of the text is dedicated to the potential of figurative language in the search for possible solutions to the menace of the vicious circle of recognized methodologies. First and foremost, however, the present musings provide a point of departure for further philosophical and philological debate on the state of knowledge and of its development.
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Amiri Baraka: poeta walczący

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Amiri Baraka: A Poet Fighter (Two Interviews) The tripartite “Dialogues and Polemics”section of the present issue consist of Christopher Bigsby’s interview with Amiri Baraka (originally published in the Theatre Quarterly in 1978), the latter’s controversial poem “Somebody Blew Up America” and a conversation with the poet recorded in the artist’s backstage room of the Hipnoza Jazz Club in Katowice, Poland, immediately after a moving performance of the Amiri Baraka Speech Quartet during the Ars Cameralis Silesiae Superioris Festival in 2009. The interlocutors were accompanied by a leading jazz pianist, Dave Burrell, and an excellent double bass player, William Parker. Attempting to illustrate the metamorphoses of Amiri Baraka’s artistic and political Weltanschauung over the past three decades, the juxtaposition of the two interviews demonstrates both its continuity and its evolution. On the one hand, artistic attempts to contrast the current discourse of Americanness with the ideological basis of the American project seem to be constant in Baraka’s work: the artist employs “Americanness” to criticize Americanness, as is the case in his unsettling interpretation of Melville’s Moby-Dick, entitled “Re: Port” (1996) ― or in his “Somebody Blew Up America” of 2001, the publication of which cost him the title of Poet Laureate of the State of New Jersey. On the other hand, his concept of People’s Revolution undergoes change, reflecting the artist’s ideological evolution in the light of the transformations of social, political and economic realities of America in the past thirty years.
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