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EN
The author analyses "Fantazyjne objawy zmysłowe" by W.F. Szokalski in the context of changes of the nineteenth-century observer. Full of contradictions synthesis of Polish ophthalmologist is a register of transformations in the visual field observed by other researchers (Jonathan Crary ), but also the concept of embodied and active look does not fulfil its depth. In the article Szokalski will be treated as a representative of the late-idealist formation, which is aware of restrictions that “disenchantment of the world” causes (epistemological subjectivism resulting from contemporary knowledge of the nervous system, modernist reflections on the contingency of science). However, the ophthalmologist exceeds perceptual distortions and dilemmas of psychophysiology by means of recalling the romantic spirit, which acting on the body backwards, brings the man closer to the Truth. Szokalski turns out to be a representative of the formation that Agata Bielik-Robson called “modernity with anxiety”. This formation is looking for a new sacrum that in the name of the new subject deals rhetorically with entanglement in the body, but also – paradoxically – still remains under its influence.
PL
Autor artykułu przedstawia w nowym świetle późną twórczość Wincentego Pola, wychodząc od zapomnianego poematu „Pacholę hetmańskie”. Analizując wypowiedzi poety i zestawiając je z negatywnymi opiniami krytyków i późniejszych badaczy, udowadnia, że dla samego pisarza utwór miał znaczenie przełomowe w trzech płaszczyznach: idealistycznego postrzegania sztuki (i kultury); autorskich poszukiwań współczesnego pamiętnikarskiego eposu; postawy wobec najnowszej tradycji narodu, którą cechuje przywoływanie przeszłości w geście żałoby. W ten sposób artykuł nie tylko pozwala zinterpretować na nowo późne dzieła poety, lecz także przybliża zapomnianą kartę refleksji metaliterackiej z lat sześćdziesiątych XIX wieku.
EN
The author of the article presents the late work of Wincenty Pol in a new light, and his starting point is the forgotten poem “Pacholę hetmańskie” (“Hetman’s Infant)”. He analyses the poet’s statements and compares them with the negative opinions of critics and modern researchers in order to prove that for Pol the work had a critical meaning in three dimensions: idealistic perception of art (and culture), the author’s search for a contemporary diarist epic poem, and his own attitude towards the newest tradition of the nation characterized by mourning of the past. Therefore, the article explains late works of Pol as well as introduces a forgotten part of metaliterary reflection of the 1860s.
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