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1
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Akwarium i luneta. Metaforyka okulocentryczna w twórczości Brunona Schulza

100%
Szalewska K.
Schulz/Forum
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2018
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issue 11
31-44
PL
The paper is an analysis of the motif of glass in the fiction of Bruno Schulz. The writer’s fascination with this particular material is related to the experience of modernity, since glass served as the substance of permanent and repetitive phantasms. In this respect, Schulz’s writing can be read as an artistically processed testimony of fascination with one of the material dimensions of modernity, which was glass architecture. The author interprets the modernist oculocentrism in Schulz’s stories, focusing on transparency in the spatial figures of the author of Cinnamon Shops (including panoramas, glass balls, telescopes, etc.).
2

Przestrzeń i wojna. Perspektywy lektury kartografii wojennej

100%
Szalewska K.
Białostockie Studia Literaturoznawcze
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2012
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vol. 3
23-35
EN
The article reveals various relations between wartime trauma and the urban experience. The eponymous reading of wartime cartography is an attempt at analysing (based on the works, among others, by M. Białoszewski, M. Głowiński, Cz. Miłosz, and W. Szpilman) spatial practices (as understood by M. de Certeau) characteristic of the times of war. Simultaneously, the focus of interest falls on the tension between the statics, the symbolic gesture of leaning over a map in military headquarters, and the vectors of movement, the dynamics that befalls the inhabitants of the areas where military activity is taking place.
3
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Widma Derridy – nie-umarli w „Cmętarzu zwieżąt” Stephena Kinga

100%
Szalewska K.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2017
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issue 8 "Jak czytać (pop)literaturę?"
137-148
EN
The article is an interpretation of the novel Pet Sematary in the context of Jacques Derrida’s hauntology. The theme of undeadness is developed by using concepts from Derridian philosophies (such as specter, haunting, iteration or mortgage). In this way, the essay shows how popular literature reproduces bearing ideas for the present and develops philosophical themes fictionalizing them.
4
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Fabryka Schindlera – tektonika dyskursów

100%
Szalewska K.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2015
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issue 3/2015 "My, Naród..." Polski mit narodowy dzisiaj
69-88
EN
The author of the article discusses the museum institution which is Oskar Schindler’s Enamel Factory, a branch of the Historical Museum of the City of Kraków. The subject of the analysis is a permanent exhibition – Kraków under Nazi Occupation 1939–1945. The reading of the exhibition space starts from the premise that modern museums are mirrors which reflect the contemporary historical culture, with the appropriate symbols, myths and desires. The author interprets the exhibition, treating it as a discourse, a mixture of a variety of narrative – academic and pop cultural, theater and multimedia. The analysis also includes the characteristic phenomenon of postmodern thinking about the past, such as post-nostalgia, privatisation of the past, melancholy, irony or desire for presentification.
5
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"Murder walk". Mapy małomiasteczkowych zbrodni

100%
Szalewska K.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2014
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issue 1/2014 "(Mało)miejskość"
83-96
EN
The article presents the reflections on the practice of literary tourism, the so-called crime tourism, related to the growing popularity of Scandinavian detective story, especially Henning Mankell’s series dedicated to Wallander, which resulted in the phenomenon of touristic attraction of Swedish Ystad or Gotland. The author analyses the cultural spatial practice – murder walk – differentiating it to practice of flânerie and drifting, and typing in a problem related to the tourist navigation. She focuses on cartographic dimension of the tourist experience, highlighting a range of spatial processes that occur during the murder walk – contrasting view with book, the role of topographic imagination of reader, recognizing the landscape as guilty, performing the fictional role in the constructed murder scene, etc. Criminal tourists embody cartography, which they imagine during reading to incorporate it into enacted spectacle of murder walk. The article concludes with a reflection on the relations between literature and tourism in the context of Polish small town discourse (for example Sandomierz).
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„Esejologia” – rekonesans

100%
Szalewska K.
Wielogłos
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2008
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vol. 2
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issue 4
PL
Recenzja książki R. Sendyki Nowoczesny esej. Studium historycznejświadomości gatunku. Horyzonty Nowoczesności, t. 46, Universitas, Kraków 2006, s. 131–132.
7
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Dzielnica jako miejsca afektywne – „Cwaniary” Sylwii Chutnik i „Królowa Salwatora” Emmy Popik

100%
Szalewska K.
Białostockie Studia Literaturoznawcze
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2020
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issue 16
51-63
EN
The article analyzes two urban novels Cwaniary by Sylwia Chutnik and Królowa Salwatora by Emma Popik. Both present the vision of city as an affective place. Their strongest similarity is in the way they project emotions upon the city and the transformations of public space which they document. The author of the article proposes to concentrate on a number of questions. These include the affective experience of urban space, polis as the space of ideological tensions, relationship between the centre and periphery, postmodern understanding of locality, and finally, the status of a district as the site of settling in, which allows one to claim “the right to the city”.
8
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Prawda cytatu, czyli o grze alegacjami (na podstawie cyklu „Paryskie pasaże" Krzysztofa Rutkowskiego)

100%
Szalewska K.
Przestrzenie Teorii
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2008
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issue 10
105-118
EN
The aim of this article is to consider the relationship between the practice of quoting and truth on the example of Krzysztof Rutkowski's oeuvre. In an obvious way such an interpretation of the subject brings reflections closer to the analyses of intertextuality, however, that which distinguishes intertextual references in the texts discussed from the postmodernistic play with conventions is a different function of the hypotext present through quotations. First of all, it has to validate, i.e. also to axiologically mark the essayist's exposition. The practice of quoting reminds an act of allegation, however, with the reservation that it allows the element of the dialogue. Thus, this article is both an attempt at an analysis of the ways of functioning in the composition of an essay of attempts at imitation as textual strategies as well as - and mostly - combination of the allegation game with the problem of literary truth, the truth of the subject of the essay, but also of the truth expected in the reception by the readers.
9
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Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów

100%
Szalewska K.
Przestrzenie Teorii
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2019
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issue 31
93-108
EN
The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.
10
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Od „miasta silników” do „popielnika historii” – o filmowym fantazmacie Detroit i kryzysie idei polis

100%
Szalewska K.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 109
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issue 2
219-233
EN
This article analyses the cultural phenomenon of Detroit. The author tries to reconstruct the phantasm of the fall of this metropolis based on artistic representations (primarily film productions) of the ‘Motor City’, while reflecting on the crisis of the idea of polis in the times of postmodernity. The analysis opens with RoboCop by Paul Verhoeven which is contrasted with 21st-century film productions, such as Lost River by Ryan Gosling, Only Lovers Left Alive by Jim Jarmusch, It Follows by David Robert Mitchell and Don’t Breathe by Fede Álvarez. Studying RoboCop through the prism of topographical turn and philosophy of the city makes it possible to see this picture as a testimony of how polis was perceived in the late 20th century (technological optimism, crisis of the idea of the centre pointing to its strong embedment in urban imagination). Juxtaposed with Verhoeven’s picture, the features by Gosling, Mitchell, Álvarez and Jarmusch show how urban phantasms have changed in the 21st century, coinciding with the newly developed forms of urban aesthetics (urban exploration, ruin porn, fascination with the post-catastrophic urban form).
11
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Ekoliteratura w kontekście animal studies i zwrotu etycznego

100%
Szalewska K.
Porównania
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2022
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vol. 31
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issue 1
95-113
EN
The article is an attempt to read various types of journalism that deal with human-animal relations (“Wolves” by Adam Wajrak and “Un chien mort après lui” by Jean Rolin). Each of these texts covers a different category in which we classify animals (wild, companion), but the authors deconstruct these categories. Thanks to this, the interpretation of the aforementioned books has also contributed to the development of such issues as “wildness,” empathy in human-animal relations, cultural conditions of treating certain animal species, species chauvinism, etc. These considerations were obviously included in the spirit of posthumanism, but most of all the ethical turn. The introduction includes, in turn, reflections on the particular genre, which is nature writing, and its evolution in the context of changes that took place in humanistic thought (e.g. negating the division into nature and culture).
PL
Artykuł stanowi próbę odczytania różnego typu reportaży, które traktują o relacjach ludzko-zwierzęcych (Wilki Adama Wajraka oraz I ktoś rzucił za nim zdechłego psa Jeana Rolina). Każdy z tych tekstów dotyczy innej kategorii, w jakiej klasyfikujemy zwierzęta (dzikie, towarzyszące), lecz autorzy poddają te kategorie dekonstrukcji. Dzięki temu interpretacja wspomnianych reportaży stała się też przyczynkiem do rozważenia takich kwestii, jak „dzikość”, empatia w relacjach ludzko-zwierzęcych, kulturowe uwarunkowania traktowania określonych gatunków zwierząt, szowinizm gatunkowy itd. Rozważania te zostały ujęte, co oczywiste, w duchu refleksji posthumanistycznej, ale przede wszystkim – zwrotu etycznego. Wstępem do całości stały się z kolei refleksje nad odmianą gatunkową, jaką jest reportaż przyrodniczy, i jej ewolucją w kontekście zmian, które dokonały się w myśli humanistycznej (np. zanegowanie podziału na naturę i kulturę).
12
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Hüzün – melancholia turecka w Stambule Orhana Pamuka

100%
Szalewska K.
Porównania
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2014
|
vol. 15
311-322
EN
The article is a reflection on the fictionalized essay Istanbul: Memories and the City by Orhan Pamuk, which is analyzed here in the context of the entire works of the Turkish Nobel Prize winner. All Pamuk’s novel are consistently maintained in the mood of nostalgia for the past, searching for the mystery, and their protagonist is the space of Istanbul. In this essay, the author defines the melancholy, to which he discursievely continually returns, as hüzün as a special kind of sadness appropriate for the Turkish culture. The purpose of this article is therefore to describe this phenomenon using comparative recognition, reflection on the experience of the past in contemporary historical culture, and also tools of humanistic geography. Hüzün then appears as a kind of melancholy of a place, but also as a special form of melancholic writing.
PL
Prezentowany artykuł jest refleksją nad fabularyzowanym esejem Orhana Pamuka Stambuł. Wspomnienia i miasto, analizowanym w kontekście całokształtu twórczości tureckiego noblisty. Wszystkie powieści Pamuka konsekwentnie utrzymane są w nastroju nostalgii za przeszłością, poszukiwania tajemnicy, a ich równoważnym bohaterem jest przestrzeń Stambułu. W omawianym eseju sam autor definiuje melancholię, do której wciąż dyskursywnie powraca, jako hüzün – szczególny rodzaj smutku właściwy dla tureckiej kultury. Celem powyższego artykułu staje się więc próba opisu tego zjawiska z wykorzystaniem ujęcia komparatystycznego, refleksji nad doświadczaniem przeszłości we współczesnej kulturze historycznej, a także narzędzi geografii humanistycznej. Hüzün jawi się wówczas jako rodzaj melancholii miejsca, ale również szczególna forma pisma melancholijnego.
13

Main trends and problems concerning the Polish reception of memory studies

100%
Szalewska K.
Studia Slavica
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2014
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vol. 18
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issue 2
127-134
EN
Article aims to reflect on the main trends and problems with the reception of memory studies in Polish contemporary literary studies. A relatively new phenomenon (though representative for the literary studies on memory) labelled with the name of post-dependency may serve as the starting point for the analysis of the ontology of memory events within the frame of performative memory and performative dimension of humanistic considerations above it.
14
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Co to znaczy być „dobrym wilkiem”? O dyskursach ogrodu zoologicznego

100%
Szalewska K.
Zoophilologica. Polish Journal of Animal Studies
|
2022
|
issue 1 (9)
1-16
RU
Статья представляет собой прочтение идеи зоопарка в контексте концепции пространственности дискурса Мишеля Фуко. Книга Ларса Берге Добрый волк. Трагедия в шведском зоопарке послужила автору источником вдохновения для размышлений. Автор статьи обращается к истории зоопарков, пытаясь рассмотреть это место на фоне истории идей, особенно концепций экономизации, сциентизма, коллекционирования и таксономии девятнадцатого века. В дальнейшей части автор рассматривает зоопарк в контексте визуальных практик, учитывая роль взгляда в диалектике власти/знания. Это показывает, что зоопарк, функционирующий в связи с политическим, иерархическим мировоззрением, всегда будет оставаться областью культурного и антропоцентрического. В статье обсуждается также восприятие зоопарков в эпоху антропоцена как современных «Ноевых ковчегов» и этический аспект «социализации» животных.
EN
In her article, Katarzyna Szalewska offers a reading of the idea of the zoo in the context of Michel Foucault’s concept of the spatialization of discourse. Lars Berge’s book A Good Wolf. The Tragedy in a Swedish Zoo was an inspiration for Szalewska’s reflection. Szalewska refers to the history of the zoo and places this facility against the history of ideas, especially the nineteenth-century concepts of economization, scientism, collections and taxonomy. She then considers the zoo in the context of visual practices, especially the role of the gaze in the dialectic of power and knowledge. She shows that the zoo, functioning as it does in relation to the political and hierarchizing view, will always remain the domain of the cultural and the anthropocentric. Szalewska also addresses the perception and role of zoos as modern Noah’s arcs in the Anthropocene era and the ethical dimension of the “socialization” of animals.
PL
W artykule idea ogrodu zoologicznego została odczytana w kontekście Foucaultowskiej koncepcji uprzestrzennienia dyskursu. Inspiracją do refleksji stała się książka Larsa Bergego Dobry wilk. Tragedia w szwedzkim zoo. Autorka tekstu odnosi się do historii ogrodów zoologicznych, starając się osadzić tę placówkę na tle historii idei, zwłaszcza dziewiętnastowiecznych konceptów ekonomizacji, scjentyzmu, kolekcjonowania i taksonomii. W dalszej części rozważań sytuuje ogród zoologiczny w kontekście praktyk wizualnych, zwłaszcza roli spojrzenia w dialektyce władzy/wiedzy. Pokazuje, że ogród zoologiczny, funkcjonując w odniesieniu do spojrzenia politycznego, hierarchizującego, zawsze pozostanie domeną tego, co kulturowe i antropocentryczne. Podejmuje również kwestie postrzegania ogrodów zoologicznych w dobie antropocenu jako nowoczesnych arek Noego i etycznego wymiaru „socjalizacji” zwierząt.
15
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(Mało)miejskość

88%
Szalewska K.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2014
|
issue 1/2014 "(Mało)miejskość"
9-12
PL
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