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1

Visual production and a crisis of representation. Charcot's iconography of hysteria

100%
Majewski T.
Przegląd Kulturoznawczy
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2006
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vol. 1
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issue 1
86-99
EN
In the years of 1875 and 1876 the director of Salpetriere Jean-Martin Charcot decided to add new sections to the hospital, whereby creating 'a lifelike catalogue of the hysterical attack' - he founded an ophthalmologic laboratory, a photographic studio, and a museum of casts. A hysterical body was documented in many ways (e.g. through plaster casts) in various phases of attack, ranging from paralysis to contraction, from movement to stasis. 'Iconographie photographique de la Salpetriere' was to figure the whole temporal course of an attack as presented in synoptic tables, drawings and photographs. By recording the moments of rest, it cut physical symptoms into acts, scenes and tableaux. In the distortions of patients' bodies it sought 'plastic regularity' and 'affective dramaturgy'. Charcot's practice and his psychiatric discourse constituted a purely figurative production. The hysterical attack was given visual codification by cutting it into discrete poses and registering patient's affective gestures by means of visual schemes derived from painting, theatre and dance. In the series of 'Iconographie' the hysterical body becomes a sign of some invisible realm that could not be encompassed in classical representation. In the spectacle of hysteria created for medical and scientific inspection, the primal, obscure state of representation seems reinstated, which is close to 'the pure language of theatre' proclaimed by Artaud.
2

Walter Benjamin and Mickey Mouse

100%
Majewski T.
Przegląd Kulturoznawczy
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2007
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vol. 1
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issue 2
145-162
EN
The subject of the article is Walter Benjamin's relation to animated cartoons with Mickey Mouse as the main protagonist. The author presents all the data connected with that problem in context of Benjamin's work. He emphasizes a revolutionary potential of those films and their influence on mass public. Then, he refers to laughter and destroying mechanisms and their liberating character. Benjamin's opinions are the background for author's considerations of the function of cinema, and are compared with the theories created by Fourier, de Sade or Marx. The analysis of Benjamin's opinion on the Mickey Mouse cartoons leads the author to the conclusion that on the one hand these films are kitsch, but, on the other, they are able to overcome it.
3

Testimony: between the inside and the outside of language

100%
Majewski T.
Teksty Drugie (Second Texts)
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2007
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issue 5(107)
74-84
EN
Georgio Agamben's considerations refer the radicalised notion of testimony to the possibility of speaking 'in lieu' of someone experiencing an impossibility of speaking, as concealed in daily use of language. In language, testimony is a paradoxical assumption of the position of a dead or impossible subject of speech. In a performance situation, anomy is integrated in the structure of articulation. It is in and through the latter that a split between the langue as a potentiality of speech and the parole as its impossibility is unveiled. As a purely linguistic option, testimony is situated between Foucault's 'archive', i.e. conditions enabling the event (or, occurrence) of discourse and impossibility of speaking, which, by paradox, is entrusted to the tongue.
4
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BOTANY IN THE WARSAW-BASED JOURNALS 'PAMIETNIK FIZJOGRAFICZNY' AND 'WSZECHSWIAT'

100%
Majewski T.
Analecta. Studia i Materiały z Dziejów Nauki
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2005
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vol. 14
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issue 1-2(27-28)
147-155
EN
The paper discusses two naturalist journals published in Warsaw from the beginning of 1880s (i.e. during the times of the Russian occupation in the 19th and the beginning of the 20th century), when no Polish university-level schools were allowed. The two journals were initiated by the same group of naturalists, mainly with ties to the Polish university in Warsaw (Szkola Glówna), which was active between 1862 and 1869. 'Pamietnik Fizjograficzny' (The Physiographic Diary) was published in the years 1881-1921, at first on an annual basis, and later less regularly. Among its editors were botanists, e.g. Tytus Chalubinski, a well-known Warsaw physician, and Jerzy Alexandrowicz. The journal published original studies in botany, zoology, geology, meteorology and anthropology. 'Wszechswiat' (The Universe) was a weekly published in the years 1882-1914. It contained many review articles by all of the eminent Polish botanists of those times, as well as original floristic reports. Both journals played an important role in promoting knowledge of botany in this part of Poland.
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