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11 wrzesnia 2001 w poezji

100%
Wadolny-Tatar K.
Pamiętnik Literacki
|
2012
|
vol. 103
|
issue 4
101-113
EN
The article relates to the events of September 11th, 2001 recorded in the poems by Wislawa Szymborska, Ewa Lipska, and Julia Hartwig. The date indicates as well as encodes the dramatic events connected with World Trade Center terrorist attack. It can be interpreted and described using Jacques Derrida’s term “shibboleth.” The arrangement of the poems under analysis reveals a temporal aspect expressing a different distance to the tragedy, namely “here and now” (Szymborska), “shortly after” (Lipska) and “some time later” (Hartwig). In Szymborska, the medium of photography determines the verbal projections of images, while literature settles the photography’s scope of reference. The photography, to continue, can be seen as a fake ekphrasis. Referring to the methods of communication about the events in question, Lipska juxtaposes two perspectives, namely the vision (per)formed in mass media and by various social commentators, and that of an ordinary man (a tailor). Both form contrasting commentaries on the reality. Hartwig’s poem does not indicate its connections to September 11th, 2001; it is only later that the presented lyrical situation and geographical-topographical details allow for the disclosure. Wieze (Towers) prompt into reflection on the absence of those monumental buildings in New York’s urban landscape which, when destroyed, caused the deaths of many people. The poetics of eye and memory is a literary restoration of the old picture as well as everyday habits after the disaster. The poetic experience of the date is realised with different creative strategies, all of them being the results of searching for the modes of speaking about the tragedy. Three poems shape a shibboleth composition with the date in its semantic centre.
2

Podmiot, czas, swiatlo. Gaspara Noé eksperymenty z realizmem we Wkraczając w pustkę

51%
Michnik A.
Kwartalnik Filmowy
|
2011
|
issue 75-76
209-236
EN
The article deals with Gaspar Noé’s Enter the Void (2009). The author analyses different ways of presenting reality that Noé employs in his work in relation to various concepts of extending realism. Michnik compares Enter the Void with 19thcentury French paintings and various trends in cinematography and visual arts of the 1960s: structural film, Stanley Kubrick’s 2001: A space odyssey, op-art, Andy Warhol’s multimedia experiments, and objects by Dan Flavin and Bruce Nauman. Basing his argument on the work and thoughts of Michael Fried and Robert Smithson, Michnik considers various models of vision employed by the director and the relation of his film to the concept of time. He also analyses Noé’s use of the Tibetan Book of the Dead. He uses the concepts of Hal Foster’s “traumatic realism”, Fredric Jameson’s „magic realism” and Luis Felipe Noé’s, Gaspar Noé’s eminent father, “subjective realism”.
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