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Histeria teorii (jako) literatury

100%
Pietrzak W.
Białostockie Studia Literaturoznawcze
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2014
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vol. 5
EN
This article focuses on the idea of theory of literature as non-dogmatic and anti-essentialist form of reflection on literature. On the one hand, Jean-Michele Rabat´e, Jacques Lacan, Jacques Derrida and Martin Heidegger, referred to in sequence, are shown as thinkers breaking the clear division into literary text and, external thereto, theoretical text. On the other hand, the conclusion of the article, using examples of a few James Joyce’s texts, emphasizes the metaliterary element, which meets the proposals discussed in reference to the aforementioned figures.
2
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Lęk ironistki. Jażń ludzka w kulturze literackiej Richarda Rorty'ego

100%
Pietrzak W.
ER(R)GO: Teoria – Literatura – Kultura
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2014
|
issue 2(29) lęki cywilizacji
85-94
EN
The Ironist’s Fear. The Human Self in Richard Rorty’s Literary Culture. Build on the anti-essentialist foundations that were raised by Nietzsche and Derrida, Richard Rorty’s post-metaphysical vision of literary culture entails two crucial concepts: irony and solidarity. The present article intends to highlight the presence of a third, less perceptible key idea: fear. The ironist’s description(s) of the world, involve(s) ever-changing vocabularies, adaptable according to the demands of new situations and emerging different forms of otherness, vocabularies which are shaped and reshaped by encounters with the ever-extending line of literary works, with the awareness of the inability to find or settle for the “final vocabulary.” It is precisely this awareness, which may, under certain circumstances, be seen as evoking a possibility of fear that concerns not only the stability of one’s identity, but also the inability of a complete and satisfactory expression. This fear, however, does not necessarily has to have a stunting effect – it may be responsible for the stimulation of one of man’s most powerful qualities: creativity.
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Sounding Difference: Paul Muldoon’s “The Lass of Aughrim”

100%
Pietrzak W.
Anglica. An International Journal of English Studies
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2017
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issue 26/1
XX
In the present paper, I focus on a single short poem “The Lass of Aughrim” by Paul Muldoon with a view to showing that it invites the reader to participate in the process of approaching in language the foreignness of another culture. The persona depicts a situation in which an ethical choice is vested in the act of speaking, which either acknowledges the irreducible otherness implicit in the poem or imposes an essentially colonial point of view. The ethical dimension as it is probed here is derived from some insights of J acques Derrida, especially his lectures delivered in the 1990s.
4
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Ted Hughes and Poetry as Spiritual Restitution

100%
Pietrzak W.
Anglica. An International Journal of English Studies
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2015
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issue 24/1
119-132
EN
The article explores Ted Hughes’s poems and criticism with a view to demonstrating that his poetry represents a willing exposure to the greatest of traumas in order to recuperate from them a spiritual energy. It is argued here that since, according to Hughes, the modern world is a civilisation of repression, the poet’s task is to alleviate this pain at the price of his own suffering. In this sense the poet plays the function of the shaman, who knows that his power derives from the pain he undergoes on behalf of his community. Rather than spirits, however, the poet-shaman in Hughes seeks the favour of what Robert Graves called the white goddess, who can bestow her blessing on the poet or mercilessly plunge him into ruin.
5
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Breaking Up the Language: The Struggle With(in) Modernity in J.H. Prynne’s Biting the Air

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Pietrzak W.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
5-18
EN
The essays focuses on J. H. Prynne’s Biting the Air. Taking as a departure point Adorno’s idea of the role of art in society, it is argued here that Prynne’s sequence of poems thematises a conflict between the supremacy of the science- and market-oriented narratives of suppression of society and the attempts to subvert that narrative through a reinvention of the signifying process of language. Prynne resorts to radical parataxis in order to undermine the ostensibly natural hegemony of accepted idioms of science and market economy, offering a dense network of meanings that cannot be reduced to a flat formula.
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Przekleństwa na językach, czyli o dwóch wierszach Philipa Larkina i Tony’ego Harrisona

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Pietrzak W.
Prace Literaturoznawcze
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2015
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issue 3
57-66
EN
In the present article I set out to investigate the role of vulgarisms in Philip Larkin’s “High Windows” and Tony Harrison’s long poem v. The key problem at issue here is the notion of social belonging, which both poems probe into. While Larkin uses the curse in order, as the poem unravels, to show the naivety and sterility of vulgar language, Harrison shows that that kind of language needs to be assimilated, for only in that case can poetry become a discourse accepting of otherness. Thus Larkin is revealed here as a critic of the rebellious generation that regards vulgar language as their principal means of expression, whereas Harrison positions himself as their advocate and, to some extent, leader of the “angry young men” of the 1980s in Britain.
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“I Summon to the Winding Ancient Stair” : On the Symbolic Search for Wisdom in W. B. Yeats’s “Blood and the Moon”

100%
Pietrzak W., University of Łódź D. o. B. L. a. C.
Acta Universitatis Lodziensis. Folia Litteraria Anglica
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2009
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vol. 8
PL
W niniejszym artykule wiersz W. B. Yeatsa „Krew i księżyc” zostanie poddany analizie w celu ukazania, w jaki sposób Yeats poszukiwał wiedzy (w sensie metafizycznym i okultystycznym) w obszarze swoich wierszy symbolicznych, do których z pewnością należy „Krew i księżyc” . W odczytaniu wiersza odniesienia do psychoanalizy Junga posłużą do zdefiniowania kluczowego terminu „Anima Mundi” , którym Yeats posługiwał się zarówno w swej poezji, jak i w filozoficznej książce prozą, zatytułowanej „Wizja” . Same tezy, które poeta stawia w swej teorii stożków, i faz księżyca, zostaną odczytane jako filary nie tylko samego wiersza, ale też całej późniejszej poezji Yeatsa; aby wyjaśnić ich rolę w poezji Irlandczyka, postulaty z „Wizji” analizowane będą w odniesieniu do pojęcia „kolektywnej podświadomości” , które zostało ukute przez Junga. Ostatecznym celem analizy będzie zademonstrowanie modelu analizy wiersza „Krew i księżyc” , która pozwoli odczytać go jako przykład jednej z najdłużej trwających fascynacji Yeatsa.
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“Such beauty transforming the dark”: Wallace Stevens’s Project in Frank Ormsby’s “Fireflies”

63%
Pietrzak W., Marzec K.
Anglica. An International Journal of English Studies
|
2018
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issue 27/1
111-120
XX
Although Frank Ormsby’s poetry is associated with what Terry Eagleton has called tropes of irony and commitment, his 2009 collection Fireflies inclines, rather surprisingly, towards Wallace Stevens’s idea of imagination as a force impacting reality. Reading Ormsby’s volume against a selection of poems by Stevens unravels what appears to be a consistent affinity between the author of Harmonium and the Ulster-born poet. This affinity manifests itself, as the present paper aims to show, in the fact that in Fireflies, much like in Stevens, a form of perception of reality is delineated that is never to stagnate into an achieved balance.
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