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Queerowanie intymistyki. Iwaszkiewicz, Zawieyski, Gide

100%
Dąbrowski B.
Autobiografia. Literatura. Kultura. Media
|
2014
|
issue 1(2)
51–67
PL
W artykule opisuję różnorodne tekstualne strategie polskich, homoseksualnych dzienników z pierwszej połowy XX wieku. Omawiam kwestię ich gatunkowego uwikłania w relacji do założycielskich, dla gejowskiej autobiografii, tekstów André Gide’a i Oscara Wilde’a oraz wskazuję na podobieństwa i różnice w sposobach konstruowania homoseksualnej podmiotowości. Na podstawie spostrzeżeń Judith Butler, Eve Kosofsky Sedgwick i Michela Foucaulta, wskazuję na performatywną sprzeczność intymistycznych gatunków wywiedzionych z autobiograficznej tradycji wyznania w odniesieniu do sytuacji homoseksualnego podmiotu, a także rekonstruuję reguły jego tekstualnej widzialności na przykładzie dzienników Jarosława Iwaszkiewicza i Jerzego Zawieyskiego.
EN
In the article the author describes diverse, textual strategies of Polish homosexual diaries from the 20th century. The author discusses the issue of their complex genetical relation to the founding texts of gay autobiography by André Gide and Oscar Wilde and he is pointing at resemblances and differences in the ways they construct the homosexual subjectivity. Basing on observations by Judith Butler, Eve Kosofsky Sedgwick and Michel Foucault, the author is pointing at the performative contradiction of genres deduced from the autobiographical tradition of confessing in the situation of homosexual subject, and I am also reconstructing rules of textual visibilities of the homosexuality on the example of diaries of Jarosław Iwaszkiewicz and Jerzy Zawieyski.
2
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Zagłada, postmodernizm, kanon i literatura popularna

100%
Dąbrowski B.
Narracje o Zagładzie
|
2015
|
issue 1
PL
The Shoah, postmodernism, the canon and popular culture In the article the author asks a question about the reasons for the absence of postmodern and popular literature in the prose canon of the Shoah. He sees the cause of this state of affairs in the historical conditions of the literature of the Shoah, in the ethically and moralistically oriented reading of its texts and in the problems of this prose associated with the categories of fiction and fictionality. According to the author, the “exclusion” of postmodern and popular prose in the canon and its distance toward these phenomena results from the concern about the excess of textuality which is peculiar to these literary forms. Another reason is associated with the perspective, historically determined in the Polish context, of understanding postmodernism as an ahistorical trend – contrary to the classical views of Linda Hutcheon, Amy Elias or Paula Crosthwaite, who emphasise the state of being “possessed by history”, typical for this formation, which according to the researchers brings about a far‑reaching transformation of the perception of historicity and the attitude of literature toward the trauma. As a result, the postmodern answer to the trauma of the past makes a recourse to the repertory of different literary means and it (usually) engages the Shoah from the perspective of a temporal and generational distance. In a similar manner the author attempts to demonstrate, on the basis of a crime novel by Zygmunt Miłoszewski, Ziarno prawdy (2011), how Polish memory about the Shoah is reflected in popular literature, being a reflection of the collective mechanism of repression, processing and answering to the trauma of the past. Key words: Holocaust, postmodernism, canon, crime novel, trauma, postmemory
3
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Piękna sztuka przegrywania. Teorie odmieńcze i niepowodzenie

100%
Dąbrowski B.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2013
|
issue 21
215-227
EN
The author presents a survey of the mode of functioning of the category of failure in the context of phenomena describes as the anti-social turn in queer theory. In the focus of analysis there are, among others, works by Leo Bersani, Lee Edelman, José Esteban Muňoz. The article is mainly devoted to the ideas presented in Judith Halberstam’s The Queer Art of Failure (2011), a study that critically revises the relation connecting queerness with the concepts of negativity, shadow feminism, and designs a new perspective for queer research in popular culture, referring to Stuart Hall’s concept of low theory, and to Antonio Gramsci’s culture analysis.
4
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Kategoria groteski w opisach muzyki z obozów koncentracyjnych. Gry oświęcimskie Szymona Laksa

100%
Dąbrowski B.
Narracje o Zagładzie
|
2016
|
issue 2
PL
Category of the Grotesque in Descriptions of the Music from Concentration Camps Gry oświęcimskie by Szymon Laks The article presents the grotesque as an autobiographical strategy of talking about the experience of concentration camps. In his autobiographical testimony, Szymon Laks describes the music in Birkenau as the part of the Nazi system of exploitation of prisoners. In his memories, music in the concentration camp is deprived of humanistic values, and becomes a symbol of the violence, hierarchy and absurdity of the camp life. For Laks, the grotesque and self‑parody become the only means of speaking about the experience of the concentration camp. Laks chooses the literary tactics of inhuman accustoming, similar to the works of such writers as Tadeusz Borowski and Piotr Rawicz. Key words: Szymon Laks, music in concentration camps, Holocaust, trauma, grotesque, parody
5
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„Białe plamy w schulzologii” pod redakcją Małgorzaty Kitowskiej-Łysiak

100%
Dąbrowski B.
Schulz/Forum
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2013
|
issue 2
119-126
PL
In Białe plamy w schulzologii [The Blind Spots of Schulzology], a collection edited by Małgorzata Kitowska-Łysiak (2010), contributors focus on the relationship between Schulz’s fiction and his paintings, the problems of ethnicity and sexuality, and some newly discovered details of the writer’s life. In his discussion of the book, the reviewer stresses the increasing role of psychoanalytic, feminist and ethnicity-centered approaches, as well as the importance of the “iconic turn” for the study Schulz. The collection includes articles by Ewa Kuryluk, Małgorzata Kitowska-Łysiak, Shalom Lindenbaum, Ariko Kato, Jan Gondowicz, and Małgorzata Smorąg-Goldberg.
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