Artykuł jest analizą utworu Norwida pod kątem problematyki związanej ze Śmiercią Boga. Zwracam uwagę na styczność wniosków Norwida z założeniami Nietzschego i Heideggera. Według autora Wiedzy radosnej umarły Bóg pozostawia po sobie Nicość. To właśnie zagospodarowanie tej przestrzeni jest głównym problemem, z jakim zmierzą się bohaterowie Pierścienia Wielkiej Damy. Teatralizacja ich zachowań i sprowadzenie przedmiotów sakralnych do rangi rekwizytów będzie próbą symulacji transcendencji. Norwid wykorzystuje konwencję teatru w teatrze i deus ex machina w sposób ironiczny. To własnie ironia stanie się podstawą nowego gatunku dramatycznego, jakim miała być Norwidowska biała tragedia. Pierścień Wielkiej Damy jest więc nie tylko próbą głębokiej refleksji nad kryzysem metafizyki, ale również próbą wprowadzenia nowej jakości do europejskiej dramaturgii.
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The article is an analysis of Norwid’s work in terms of the theme of the Death of God. I focus on the proximity between Norwid’s conclusions and Nietzsche and Heidegger’s presumptions. According to the author of The Joyful Wisdom, dead God leaves Nothingness behind himself. The filling of this space is the major problem which the protagonists of the Pierścień Wielkiej Damy will face. Through dramatization of their behavior and downgrading religious objects to the role of props they will be an attempt at simulating transcendence. Norwid uses the conventions of a play within a play and deus ex machina ironically. It is irony that will become the basis for a new kind of drama, which originally a Norwidian white tragedy was supposed to be. Pierścień Wielkiej Damy is not only an attempt to at a deeper reflection on the crisis of metaphysics, but also to introduce new quality to European drama.
The "Songs of Maldoror" are one of the most mysterious romantic writings. This Lautreamont’s main work wasn’t at first accepted by critics and readers. It wasn’t until an accidental discovery made by surrealists that the most known Ducasse’s writing began to be studied. The "Songs…" were considered to be the work of a lunatic, an emanation of wild and mad imagination, and the evidence of the author’s mental illness. Recently, however, scientists who had studied this writing, noticed that earlier critical judgements were not objective. The Songs are undoubtedly the kind of writing that teases, disturbs and raises ethical and aesthetic discord. That was the author’s main goal – to create writing of which the brutality and blasphemy snatches readers away from the bourgeois indifference. The "Songs’…" universe is a grotesque portrait of tyranny and power, which converge in the falsehoods of subject and transcendence. By exposing this deception one unveils the horrific truth about reality and the society. A truth in which culture becomes the space of ceaseless oppression – the prison from which there is nowhere to hide or escape.
The main problem which is analyzed in the article is how Norwid presents the clash of two civilizations – ancient Egypt and Rome. In Norwid’s tragedy the death of culture is preceded by the death of transcendence – communities which have lost contact with the sacrum are sentencing themselves to a slow atrophy, which shall result in the collapse of civilizations. The hecatomb in Norwid’s tragedy is evoked by a series of symbols and gestures. The characters of the drama, who represent both great ancient nations, become aware by looking into the empty sky that their time is coming to the end, their life is only a part of tragic and historic fate. However, their death belongs with the Hegelian idea of the development of the spirit in history – ancient world needs to be destroyed so that Christianity could take its place.
Celem artykułu jest przybliżenie francuskich recenzji spektaklu „Poczekalnia” („La Salled’attente”) w reżyserii Krystiana Lupy. Premiera spektaklu odbyła się 7 stycznia 2011 roku w paryskim Théâtre de la Colline. Widowisko od początku spotkało się z bardzo przychylnymi recenzjami, a sam reżyser został określony przez francuskich recenzentów teatralnym potworem, którego geniusz budzi podziw i przerażenie. „Poczekalnia” została odebrana przez francuską widownię jako postromantyczny manifest, w którym kondycja bohaterów utkana jest z rozmaitych kontekstów – od traumy po Holokauście po kryzys idei wolnego rynku.
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This article aims to discuss French reviews of the play “Poczekalnia” (“La Salle d’attente”) directed by Krystian Lupa. It premiered on 7 January 2011 at the Théâtre de la Colline in Paris to very favourable reviews, and the director himself was described by French reviewers as a “theatre monster” whose genius inspires admiration and awe. “Poczekalnia” was received by the French audience as a post-Romantic manifesto, in which the condition of the characters is woven from a variety of contexts – from the trauma of the Holocaust to the crisis of the idea of the free market.
Sprawozdanie z łódzkiego festiwalu Labirynt Znaków, którego gościem specjalnym był Umberto Eco a wydarzeniem centralnym nadanie włoskiemu pisarzowi tytułu honoris causa Uniwersytetu Łódzkiego.
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The report from the Łódź festival “Labyrinth of Signs”, whose special guest was Umberto Eco, and during which the Italian writer received an honorary doctorate-from the University of Łódź
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